








'oV 1 








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in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/mansworldplayinfOOcrot 



American Dramatists Series 



A MAN'S WORLD 



A Play in Four Acts by 



RACHEL CROTHERS 




BOSTON: RICHARD G. BADGER 

TORONTO: THE COPP CLARK CO., LIMITED 



Copyright, 1915, by Richard G. Badger 



All Rights Reserved 






The Gorham Press, Boston, U. S. A. 



MM 26 191.5 

©CI.D 40773 



CHARACTERS 



Frank Ware. 
Lione Brune. 
Clara Oakes. 
Kiddie. 

Malcolm Gaskell. 
Fritz Bahn. 
Wells Trevor. 
Emile Grimeaux. 



A MAN'S WORLD 

ACT I 

Time — The present — Eight o'clock a winter even- 
ing. 

Scene — Frank Ware's living room in an old house 
in lower New York. There is a door at C. back 
leading into hall. One at L. leading into sleeping 
room. A wide window cuts off the upper R. corner 
diagonally. Another window is down R. At L. a 
large old fashioned fire-place of white marble. Low 
open book shelves fill the wall spaces. In the up- 
per corner L. is, a large round table on which 
are magazines, a lamp — a box of cigarettes and a 
bowl of red apples. At L. C. a very large uphol- 
stered davenport facing the fire at a slanting angle. 
Below the fire a large arm-chair. 

At back a baby grand piano stands R. of the 
door C. — the keyboard facing the window — a sin- 
gle chair before it. Below piano a small round ta- 
ble holding books and a work basket — a chair at L. 
of this table. Well out from the window R. is a 
large table desk with a chair on either side. The 
desk holds a student's lamp — magazines, newspa- 
pers, brass desk furnishings — and a great quantity 
of Mss. letters, etc. 

On the book shelves are vases, several busts in 
7 



8 A MAN'S WORLD 

bronz and white — old bowls, a large Victory in 
white, and a great quantity of pictures on the walls 
— water colors, oils, sketches — all good. 

The walls and ceilings are done in faded, old 
frescoes — and there is a C. gas chandelier of an old 
fashioned design. 

The furniture is all old, but solid and the gen- 
eral air is that of past elegance grown shabby and 
invaded by up-to-date comfort and cheerfulness. 

At curtain — Kiddie Ware, a sturdy boy of sev- 
en, is lying full length on sofa looking into fire. 
After a slight pause he rises — punches pillow and 
sulkily crosses to piano. With one finger he plays 
"Can you come out to-night boys" three times, with 
one note always wrong. He then crosses to win- 
dow and looks eagerly out into the street. There 
is a soft rap at the door C. Pause — and the rap is 
repeated. 

Kiddie — {Lifelessly.) Come. 

Fritz — {Opening the hall door.) Wie gehts. 
Hello. 

Kiddie — {Without turning.) Hello! 

{Fritz Bahn is a young German. He is in even- 
ing clothes and carries a shabby top-coat, a cap and 
a violin case.) 

Fritz — Where is de Frankie mutter? 

Kiddie — {Still not turning.) She hasn't come 
yet. 



ACT I 9 

Fritz — Ach! She is late. Don't you worry. She 
come soon. It is not eight o'clock all ready. (Goes 
to child at ivindow.) 

Kiddie — I want Frankie. 

Fritz — Ach Gott, so do I — but we don't get 
everything we want. 

Kiddie — (Still not turning from window.) Why 
don't she come? 

Fritz — I tink she has had a very busy day with 
dot old publisher down town to-day. She will be 
so tired. Un? Yah, I tink it. Don't look all de 
time on de outside. She not come so. Look a lid- 
die on de inside an she come. So. 

Kiddie — Light all the gas. She likes it. 

Fritz — (Lighting the gas.) So. Dere iss one 
— dere iss two — dere iss dree. So. Better? Un? 
Who lighted the first one for you all ready? 

Kiddie — Old Grumper, when she brought my 
supper. She was awful cross to-night. 

Fritz — No, iss dot so? 

Kiddie — Light the lamp. 

Fritz — (Lighting student lamp on desk.) Oh, 
yah. De light at de shrine. So. We are ready for 
her. Un? Wat did you do to-day? 

Kiddie — Nothing. 

Fritz — Nothing? Didn't you go to school? 

Kiddie — Yes. 

Fritz — And didn't that nice girl wat takes care 



io A MAN'S WORLD 

of you, take you to de park dis afternoon? 

Kiddie — Yes. 

Fritz — And did she go home already? - 

Kiddie — Yes. 

Fritz — And you was alone dis evening waiting 
for de Frankie mudder. Ain't you going to smile 
yet? Wat will make you smile now? Shall I tell 
you — oh — such a funny story aboud Chris Kringle, 
wat's coming down your chimney next month al- 
ready? {Kiddie shakes his head.) No? shall I — 

Kiddie — (Sole?nnly.) Be a monkey. 

Fritz — (Hopping on a chair and imitating a 
monkey.) Ach Gott! Dot iss too easy. 

Kiddie — I like that. 

Fritz — Well I am glad you like something. 

Kiddie — (Going to kick the end of a couch.) 
I want Frankie to come. 

Fritz — Du Leiber! Can't you forget a liddle? 
She come soon, now. I tink she iss eating her din- 
ner all ready down in de restaurant. 

Kiddie — She's going to take me to dinner to eat 
with her down in that restaurant, she said so. 

Fritz — No! How fine! I will haf to get invited 
on that time. You tink I can? 

Kiddie — Sing a song. 

Fritz — All my tricks, un? (Going to piano he 
begins a German song — extravagantly — after first 
few bars — loud voices are heard in hall singing 



ACT I ii 

same tune. Wells and Emile bang on the door and 
enter arm in arm singing. 

Wells — For heaven's sake, can't you hear any- 
thing but your own voice. 

Emile — Que faites — vous? Oh, la, la, Tenez! 
Ou est las divinite? — Ou est la Divinite? 

(Wells Trevors is a happy go lucky young Amer- 
ican, good looking and goodnatured. He wears a 
shabby lounging coat. Emile Grime aux is a small 
Frenchman of the unmistakable artist type. He 
wears a blue working blouse.) 

Wells — Where's Frankie? Kiddie? 

Kiddie — She hasn't come home yet. 

Fritz — (Rising from piano and going to Wells 
thumping him in the ribs.) It's too early all ready. 
Don't you know anything? 

Emile — Um — he knows nossing. 

Wells — I know a good sport when I see one. 
(Going to Kiddie.) Kiddie, old man, doesn't care 
when Frank gets home, do you? He can take care 
of himself, can't you? (Wells doubles his fist and 
makes a pass at Kiddie, to which Kiddie quickly re- 
sponds. They move to C. going on with mock 
fight.) 

Fritz — Gif it to him, Kiddie. Goot! See! Ach 
du lelber Himmel! Keep at him! You have him 
going! (Wells doubles back to L. towards the 
couch. Kiddie is excited with his victory.) 



12 A MAN'S WORLD 

Emile — Viola! See ze liddle champion! En 
garde! Bien! Voila! 

Fritz — Reach for de chin. 

Emile — Non, no, — Kick him wiz se feet! 
(Wells falls full length backwards on couch among 
pillows. Kiddie wildly excited.) 

Fritz — (Snatching a newspaper from the desk 
and giving it to Kiddie.) Here — here — fan him! 
You must be goot to a man when he iss down. 

Wells — (Gasping.) Where am I? 

Fritz — You are wid friends. (Kiddie takes pa- 
per and holding it at arms length, in both hands, 
fanning Wells laboriously.) Haf you got your 
wind all ready? 

Emile — (Laughing.) I wonder where iss a 
cigarette. Oh — le voila! 

Wells — Let me have that paper, Kiddie. Did 
you see a criticism of Frank's book this morning? 

Emile — Non — I had not ze time. I haf painted 
all day like mad. I have had ze most wonderful — 

Wells — Here you are. (Finding the article.) 
"The Beaten Path" is the strongest thing that 
Frank Ware has ever done. Her first work at- 
tracted wide attention when we tho't Frank Ware 
was a man, but now that we know she is a woman 
we are more than ever impressed by the strength 
and scope of her work. She has laid her scenes 
this time on the East side in the wretched poverty 



ACT I 13 

of the tenement houses, and the marvel is that any 
woman could see and know so much and depict 
crime and degradation so boldly. Her great cry 
is for women — to make them better by making 
them freer. It is decidedly the most striking book 
of the year. (Kiddie with a heavy sigh goes back to 
the window.) Bully good criticism. 

Fritz — It's a bully good book. 

Wells — You bet it is. Where does she get her 
stuff, anyway? After all, that's the point! How 
does she get it? 

Emile — Sere iss only one way. (Rising and 
stretching himself complacently, standing with back 
to fire.) A woman only gets what a man gives 
her. (Fritz draws Kiddie away from the window 
and sitting R. of desk, takes him on his knee.) 

Wells — (Still lying on couch.) Lione says the 
man is Gaskell. 

Emile — Zut! Gaskell has not ze romanse — ze 
mystery — ze charm for a secret love. 

Fritz — (Attracting Kiddie's attention from the 
others by showing him a trick with his fingers.) 
Can you do dot ? It iss not so easy. Un ? 

Wells — I'm hanged if I can tell whether it is 
Gaskel or not — but if it is — why the devil won't 
she marry him? I tell you Malcolm Gaskell's go- 
ing to be a big man some day. He's got the grip 
on this newspaper all right, all right, and he's not 



i 4 A MAN'S WORLD 

going to let go till he's got a darned good thing. 

Emile — Zat would be nossing to her. She wants 
ze love of ze poet — ze artist. It is not — 

Fritz — Wat are you talking about? It is not 
dis — it is not dat. It is not nobody. 

Emile — Oh, la, la! She is a very brilliant wo- 
man, but she cannot do what is impossible. She 
cannot write like a man unless a man help her — 
and no man could make her write like zat unless 
she love him. 

Fritz — {Frowning fiercely and shaking his head 
at Emile, takes up picture to show Kiddie.) Mine 
gracious! Look at dis beautiful ladies. 

Kiddie — I don't like 'em. 

Fritz — Ach Gott! Der is Fraulein Keppel who 
used to sing wid dot beautiful voice when I played 
in the orchestra in Berlin. 

Kiddie — There ain't anything funny in that old 
paper. Why don't they have Buster Brown every 
day? 

Fritz — Ach no. They have to keep Buster so 
we can tell ven it iss Sunday. 

Wells — {In a lower voice to Emile.) You 
can't see beyond the love idea. Frank isn't a 
Frenchwoman. What if there is a man helping 
her — it might be only a business deal. 

Emile — Oh — mon enfant! 

Fritz — {Rising quickly as he puts Kiddie to the 



ACT I 15 

floor.) You are two big fools. (To Kiddie.) Kid- 
die, why don't you go down to the lower hall and 
wait dere for Frankie mutter? 

Kiddie — (Going up to hall door.) I'll stay by 
the door and when she comes in, I'll jump out at 
her. (He goes out.) 

Fritz — (Going out into hall after him.) Oh 
my! Dot will be so funny! She will jump so high. 

Emile — (At fireplace.) Au revoir, mon mig- 
non. 

Wells — So long, old man. 

Kiddie — (Calling from the hall.) I'm going to 
slide down the banisters. 

Fritz — (In the door way.) Don't break your 
neck, all ready. I vill watch! Ach Got! Be care- 
ful! Der you go. (He closes door and goes down 
C.) So you — her friends — are talking too. 

Emile — Oh — la — la ! 

Fritz — You have listened to de gossip, de — 

Wells — (Throwing down paper and sitting 
up.) Oh, come off Fritz. Don't get excited. I 
say I don't know whether it's a love affair or not. 
If it is Gaskell— 

Fritz — If — if — if! Why do you always use dot 
mean little 'if? Are you cowards? Are you 
afraid to say it is a lie? 

Emile — She does not deny it. 

Fritz — She would not stoop to deny it. 



16 A MAN'S WORLD 

Wells — I think Frank has had some grand 
smash up of a love affair sometime. I don't know 
whether Kiddie's her child or not — don't care — none 
of my business — but after she's had the courage to 
adopt the boy, and refuses to explain who he is — 
after she's made people respect her and accept the 
situation — I can't see for the life of me, why she 
lets another thing come up for people to talk about. 

Fritz — There is no other thing! That iss a lie. 

Emile — How do you know? 

Fritz — You know — you know it iss a lie! Why 
don't you kill it? 

Emile — How can you kill a lie about a woman? 

Fritz — Wid de truth. 

Emile — Mais! What is ze truth? . 

Fritz — De truth iss — that she is a good woman 
and you are too small too liddle — too — too — too 
bad in your mind to know wat dot means. 

Emile — (Following him to C.) Prenez-garde ! 
I am a Frenchman! 

Fritz — Yah, dot iss yust it. You don't know a 
good woman when you see one. 

Emile — "Good!" I said nossing about good or 
bad. It iss you — you who make her bad. You say 
she must live like zis or like zat — or like one little 
way you think — or she iss bad! Bah! What is bad? 
She iss good because she has a great heart — a great 
nature. She is brave enough to keep ziz child wiz 



ACT I 17 

her — and snap ze fingers at ze world. She is kind 
as an angel — she is free — she is not afraid — but she 
must love because she is too great to live without 
love. Does zat make her bad? Allons done! Be- 
cause she does not tell who ze lover is does zat make 
her bad? Bah! It is you who are too small — too 
little too bete — too German to understand. 

Fritz — Oh, yah! yah, yah. You can talk wid 
your French talk. You mix up de good and de bad 
like you mix your black and white paint till you get 
a dirty something and say it iss beautiful. You say 
— "Oh, yah, she iss a good woman," and you damn 
her wid dat nasty liddle shrug of dat nasty liddle 
shoulder. 

Emile — Wat do you — 

Fritz — You cannot do dat wid me. You are her 
friend or you are not her friend. You know dat 
she is what I know she is, and if you don't stop 
winking and wiggling and smiling — I vill — 

Emile — You will? What will you? It is not 
to you to tell me what I sink of her. You are only 
jealous. You say zer is no ozzer man because you 
are crazy wiz ze jealous. Hein! If you was ze 
man you would not care what I zink — (Fritz 
rushes at Emile.) 

Wells — (Springing up from couch and going be- 
tween them.) Drop it you, fools! 

Kiddie — (Bursting into the room and getting be- 



1 8 A MAN'S WORLD 

hind the hall door.) Don't tell 'er where I am. 

Frank — (Coming in with a rush.) Oh, I'm so 
frightened! Something jumped out at me and ran 
up the stairs. Where's my Kiddie man to save me? 
Where is he I say. 

Emile — II n'est pas ici. I do not see him. 

Wells — Didn't you see him? He went down 
to meet you. (Kiddie and Frank both cautiously 
peer near edge of the door which is between them 
until they see each other and Kiddie springs into 
Frank 1 s arms.) 

Frank — (Catching Kiddie to her and covering 
his face with kisses.) My Kiddie man! Was I 
long? I tried so hard not to be late to-night. I 
must have a bigger hug than that. 

Kiddie — (With a bear like hug.) You was aw- 
ful scared — wasn't you? 

Frank — 'Deed I was — all to pieces! 

Kiddie — She jumped awful high, Fritz! 

Fritz — Yah, I told you. 

Frank — Well, how are you? You're lucky dogs 
to be so poor that you don't have to work. (She 
smiles at them all with the frank abandon of being 
one of them — strong free, unafraid, with the glow- 
ing charm of a woman at the height of her develop- 
ment. Her clothes are simple and not new — but 
have a certain artistic individuality and style.) 

Emile — Zen why do you kill yourself to get rich ? 



ACT I 19 

Frank — I have to get rich for my Kiddie, don't 
I? See what you think of that, boy. (Giving him 
a small package.) 

Fritz — {Helping Frank off with her coat.) 
Have you had some dinner? 

Frank — Yes, I had a bite down town, but I'm 
hungry. ' i 

Fritz — (Putting her cloak on piano.) I will 
get you some-ding. 

Wells — No, I'll chase out and get it. 

Emile — I will make you a salad, toute de suite. 

Frank — (Sitting on the couch.) No — no — no. 
Stay where you are — all of you. I know what I 
want. It's an apple. Give it to me, Wells. Oh — 
This is good! Be it ever so high up, there's no 
place like home. Take off my gloves, will you, 
Emile? Somebody might poke up the fire a bit. 
(To Kiddie who is struggling with the toy.) Can't 
you make it go, old man? Wind it up for him, 
Fritz. (Emile having taken the gloves off goes 
back of couch and takes off her hat. Fritz takes 
the toy and sits on the floor tailor fashion. 
Kiddie sits in front of him with his back to audience. 
There is a long pause. Wells, peeling and slicing 
the apple sits on the L. arm of couch, holding the 
slices out to Frank on the end of the knife.) What's 
the matter with you all? Anybody had bad luck? 
You're a cheerful set. Why don't you talk? Amuse 



20 A MAN'S WORLD 

me. What are you good for? You look as cross 
as sticks, Fritz. Have you had a fight? 

Emile — Qui. We have had a grand fight. 

Frank — What about? 

Emile — About you. 

Frank — That's good. Who was on my side? 

Emile — We were all on your side, only in ze 
different way. 

Frank — What's your way? (Kiddie runs to 
Frank, sitting on her lap.) 

Emile — I say I have ze advantage of zem all — 
because I can put you in my pictures as I see you — 
as I understand you. You are in zem all — many 
women — in many moods. Mon Dieu! I have had 
a wonderful day! I have painted every minute 
till ze light is gone. 

Frank — You look it. 

Emile — I haf got it to-day — what I want — and 
it iss you zat I see in ziz picture. 

Fritz — (Working with the toy on the floor.) 
Nobody else vill see it. 

Emile — Ah, not ze nose — ze ears — ze chin, may- 
be — I am not, painting the photograph. I am 
painting the soul — ze soul of a woman. 

Fritz — How can you paint what you know nud- 
ding about? 

Frank — (Laughing.) How's the play, Wells? 

Wells — I rewrote the great third act to-day. 



ACT I 21 

May I read it to you in the morning? 

Frank — Yes. (As Kiddie hugs her.) Aw — 
Kiddie — between you and the apple I am choking 
to death. What have you been doing to-day, Fritz? 

Fritz — (Reaching for the toy which has run 
away from him.) I have been gifing a five dollar 
violin lesson for a dollar fifty. 

Wells— Cash? 

Fritz — Yah. 

Wells — Then you haven't got any kick coming. 

Frank — Go and see that thing, Kiddie. Don't 
you like it? (Kiddie goes to sit on the floor again.) 

Fritz — (Winding the toy.) One of his legs is 
a liddle longer than he really ought to be. 

Kiddie — Make him go. 

Frank — What are j^ou doing in your glad rags, 
Fritz? You ought not to be sitting on the floor so 
dressed up. 

Fritz — I am going to play Lione's accompani- 
ments. She says it is a very fashionable function. 

Frank — Oh, yes, I remember. Get up and 
brush yourself off. What is she going to sing? 

Fritz — (Rising and going to piano.) She is go- 
ing to sing dis for an encore. 

Wells — (Putting apple and tray back on table 
up L.) Lione's encores are her long suite. 

Frank — That's because she always sings Fritzie's 
songs for them. (Fritz plays a tender little ger- 



22 A MAN'S WORLD 

man song, singing a strain here and there. Wells 
whistles. Frank closes her eyes listening.) Um — 
sweet. I could tell that was Fritzie's in the moon. 
Come and listen, Kiddie. (Kiddie runs to kneel 
on couch by Frank with his head on her shoulder. 
Lionels voice is heard singing the song from the 
hall. She throws open the hall door on a high note. 
Wells and Emile applaud her with good natured 
guying. 

Lione Brune is a tall ivoman with rather strik- 
ing beauty of a bold type, emphasized by her black 
gown which is very low and long.) 

Wells — Bravo! Bravo! Make your entrance 
again, my dear, — and I'll throw the lights on the 
door. 

Lione — I'm on now. You're too late for the 
cue. 

Frank — No one will dispute your Italian blood 
to-night, Lione. 

Lione — (Sweeping down to fire.) Why should 
they dispute it? 

Wells — (Imitating her.) — Why should they — 
but they do. 

Emile — A man say to me ze ozzer day — "Wat 
iss Miss Brune?" and I say — "Can you not see by 
ze look — ze voice — ze temperament?" And he says 
to me — "You mean Irish?" 

Lione — Beast! (Sitting in arm chair down L.) 



ACT I 23 

Wells — Italian extraction. Lione from Lena — 
Brune — from Brown. 

Lione — That's brilliant dialogue, Wells. Put 
it in a play. Give me a cigarette, Emile. (Emile 
lights a cigarette for her. Fritz plays again — they all 
whistle or sing for a moment with comfortable aban- 
don. 

Clara Oakes opens the door. She is a medium- 
sized woman of about 37 — with a generally drab and 
nondescript appearance, looking thrown into her 
clothes which are somewhat passe. One refractory 
lock of hair falls over her face and her hat is 
on one side of her head — both of these she con- 
stantly tries to adjust. She speaks in a nervous 
gasping way and is just now very much out of 
breath.) 

Clara — Hello, everybody. 

All— "Hello Clara." 

Lione — (Condescendingly.) Ah, cara mia, 
where have you been all day? 

Clara — Did you miss me, dearest? 

Lione — Of course I did. I wanted you to hook 
my gown. 

Clara — I am so sorry. 

Frank — Sit down, child. 

Clara — (Sitting on the edge of the couch by 
Frank.) I went into Cousin Mabel's and she asked 



24 A MAN'S WORLD 

me to stay to dinner. So I did of course. 

Wells — Of course. Don't miss any of Cousin 
Mabel's dinners, Clara. 

Clara — (Still out of breath.) She sent me 
home in the motor. 

Frank — Too bad she didn't send you all the way 
up stairs in it. 

Clara — Yes. I ran up three flights I was in 
such a hurry to see you I have an idea. 

Lione — Well, sit back and either take your hat 
off or pin it on straight. 

Clara — Oh, is it crooked ? 

Emile — It make ze whole room crooked — out of 
drawing. I cannot see anything else. 

Clara — (Struggling with her hat and hair.) 
Well — I'm going to give an exhibition. 

Fritz — (From the piano where he is still playing 
very softly.) Ach gott! 

Wells— What? 

Lione — Now, Clara, don't be a fool. 

Emile — And what are you going to exhibit? 

Frank — Be quiet. (To Clara.) Go on. Why 
shouldn't you give an exhibition? I wish to good- 
ness you'd finish that miniature of Kiddie you be- 
gan about six months ago. 

Clara — I will. I'll get to work at it right 
away. I'll make it the important picture of the ex- 
hibition. 



ACT I 25 

Frank — Kiddie can be there and walk up and 
down in front of it to show how good it is. 

Wells — I wouldn't run any unnecessary risks, 
Clara. 

Clara — You mean thing! 

Frank — Shut up, Wells. {Throwing a pillow 
at him.) 

Clara — You just wait — you just wait, you peo- 
ple. You don't believe in me. You don't think I 
am in earnest. I'll show you. I am going to get 
to work right away. 

Emile — Oh, you have some orders, zen? 

Clara — No — I didn't mean that. But Cousin 
Mabel says she'll let me do her miniature. 

Lione — Let you? For nothing? 

Clara — Well, yes. I don't mind that. 

Wells — Good Lord! {An uproar from the oth- 
ers.) 

Clara — Now, listen! 

Frank — Listen! Listen! Go on, Clara. 

Clara — Then if she likes it, she'll interest other 
people. That's what I've always wanted her to 
do, you know. Because if Cousin Mabel really 
wanted to she could do anything with her social po- 
sition. 

Lione — Your Cousin Mabel and her social posi- 
tion make me sick. Why doesn't she give you an 
income ? 



a6 A MAN'S WORLD 

Clara — Oh, I couldn't accept that. 

Wells — You couldn't — if you didn't get it. 

Clara — You don't understand how conservative 
my people are. 

Lione — How stingy — you mean. 

Emile — Why don't you tell them all to go to ze 
devil? 

Clara — Oh, I couldn't do that. I can't afford 
to cut loose entirely from my family — tho' of course 
they object horribly to my working. 

Lione — They're a pack of snobs. Why don't 
they boost you along in society then, if they object 
to this? 

Clara — Well, I really think if I succeeded, they 
wouldn't mind so much. 

Lione — No — you bet. They'd all be running 
after you then. 

Emile — Zat is ze trouble. You are still hang- 
ing to ze petticoats of your fashionable world — and 
what do it do for you? Look at me — I am alone 
in a strange country. I have no influence — no rich 
friends. I am working for ze art — not for ze 
money. 

Fritz — {Rising, getting pipe from overcoat and 
going to window.) Dat is a good thing den. 

Emile — Bah! What is money? 

Wells — Don't ask me. 

Emile — Why don't you live for your art — and 



ACT I 27 

starve for it if it must be. 

Fritz — Yah! And when you are hungry — eat 
one of your beautiful miniatures. 

Emile — Art has nossing to do wiz money. 

Wells — No, but money has something to do 
with art. 

Emile — In America, yes. Oui — zat is ze truth 
— ze sad truth. You have no art in America — and 
what you have is French. (A laugh of tolerance 
from the others.) 

Lione — I suppose you'll be swelling it, Frank, 
now that you don't have to make any sacrifices for 
the sake of your work. 

Frank — I never have made any for it. 

Lione — I'd be ashamed to confess it. 

Frank — Neither have you — none of you have. 
We're all working for money. We'd be fools if 
we didn't. 

Lione — Well — really — I tho't you had a few 
ideals. 

Frank — Never mind ideals. I've got a little tal- 
ent and I'm trying to sell it. So are we all — be- 
cause we haven't got anything else to sell. It's 
only genius that forgets money. Only the glory of 
creating that compensates for being hungry. No — 
no — talent wants three meals a day — genius can 
live in spite of none. 

Wells — Well, by God — I guess you're right, 



28 A MAN'S WORLD 

Frank. I want to sell — and I'm going to hang on. 
I think I've got a chance — not because my plays 
are any good — but because other people's are so 
damned bad. (All laugh and there is a general 
movement.) 

Frank — (Rising.) Come, Kiddie, say good 
night. 

Kiddie — Aw — 

Frank — Not another minute. Past time now. 

Fritz — Gute nacht — mine kint. 

Kiddie — Gute nacht. 

Emile — Bonne nuit, man petit. Dormez bien. 

Kiddie — Good night. 

Emile — Comment? Que dis tu? Ah! Mon Dieu! 
I will never make you a Frenchman if you do 
not speak ze language. 

Fritz — Don't speak den, Kiddie. 

Wells — Good night old man — I'll have to prac- 
tice an uppercut for you. 

Kiddie — I'll do you up again. 

Clara — (Catching Kiddie as he passes her.) 
Good night, angel sweetheart. (Kissing him on both 
cheeks.) 

Kiddie — (Rubbing his cheek). Night. 

Frank — Excuse me two minutes, good people. 
(She follows Kiddie out closing the door.) 

Clara — (After pause.) Dear Frank is so de- 
voted to Kiddie. 



ACT I 29 

Lione — Yes, isn't she — as devoted — as a moth- 
er. 

Clara — Oh, I didn't mean that. That is — I — I 
— you — know what I mean. (She looks from one 
to the other much embarrassed. A conscious pause.) 
Oh, dear, I'm always saying the wrong thing. You 
know I just love Frank. I wouldn't criticize her 
for the world. Of course I do think you have to 
be very broad minded when you come into this at- 
mosphere. Cousin Mabel says I am getting entirely 
too liberal — but then she — 

Wells — You're very liberal with your hair pins 
— they're all over the place. (Giving her two from 
the floor.) 

Clara — Oh, thank you, Wells. She also said my 
hair was too loose and that I was getting just like 
a bohemian. (Laughing foolishly.) She doesn't 
like it — but then she doesn't understand — you know. 

Wells — That's it. She doesn't understand. 
Cousin Mabel doesn't understand. You tell her it 
takes more than loose hair to make a bohemian — 
and you're getting to be an out and outer. 

Clara — (Rising, laughing again — nervous — but 
immensely flattered.) Oh, no, I'm not. 

Emile — Oui — oui — I can see it. It is there — 
that somtthing — mysterious and illusive — the true 
mark of ze bohemian. 

Clara — Oh, don't say that. I — I think I'm just 



30 A MAN'S WORLD 

as I always was. 

Wells — No, Clara, you're not. The change is 
so subtle that you don't know it yourself. But we 
feel it, you know. 

Lione — You want to be careful, Clara. 

Clara — Why what do you mean? Oh, dear! 

Fritz — You better make your hair tight again 
already. 

Clara — Well — I'm sure I don't know what you 
mean. I don't believe it any way. I'm going. 
(Running out the hall door.) 

Lione — (Calling to her.) I'm coming. Clara, 
get my coat out, will you? 

Wells — Poor Clara, she'd like to tip-toe 
through bohemia, but she's afraid of her petticoats. 

Emile — She will never be an artist. 

Fritz — But she makes very nice little pictures 
already. 

Lione — (Sneeringly.) Nobody said she didn't. 
You have charity to burn. 

Fritz — I would like to give some of it away. 

Lione — Oh, you mean I am uncharitable. Just 
because I'm not a fool and can see what's what as 
plain as the nose on your face. 

Wells — (Dreading Lione 's temper.) Well, I 
must skip. I've got to rewrite a whole play to- 
night. Come on, Emile. (Pulling Emile to the 
door.) 



ACT I 31 

Emile — No, I vill not — 

Wells — Come on. Come on. Good night. 
Hope you make a hit to-night, Lione. (He pulls 
Emile out j closing the door.) 

Lione — Pray, what did you mean by that speech ? 

Fritz — You seem to tink you know. 

Lione — I wish you wouldn't imply before other 
people that you think I'm uncharitable to Frank. I 
have the greatest charity. I don't care what she has 
done, or is doing, or how many lovers she has. All 
I ask is that she doesn't pose. It's absurd the atti- 
tude she takes of being strong minded and inde- 
pendent and it makes me sick — simply sick to see 
her fool you and lead you around by the nose. 

Fritz— Sh! Be careful! 

Lione — Anybody — anybody can see that it's Gas- 
kell. She's flirting with you and fooling you and 
using you as a blind — 

Fritz — What if she do lof Gaskell? What of it? 

Lione — What of it? 

Fritz — Dot — don't mean der is anything wrong 
or dot dere iss any reason for everybody in de house 
to talk and whisper and hint. 

Lione — I don't know whether you are so simple 
that you don't see — or so crazy about her that you 
lie for her. 

Fritz — Lie for her? Ah, Lione, why do you do 
dis ? Are you out of your head ? You are making it 



32 A MAN'S WORLD 

all up. 

Lione — Don't you say that to me. I not only 
believe what I say — but something else. 

Fritz— What? 

Lione — Have you ever thought — Does Kiddie 
make you think of anyone? 

Fritz — What do you mean? 

Lione — I'll tell you some day — when I'm sure. 

Fritz — I don't understand you. (He turns 
sharply and goes to lower window. She follows 
him.) 

Lione — You're a fool! a fool — a fool! I'm only 
trying to save you. Now you've made me angry, 
Fritz, and I won't sing well. 

Fritz — Oh, yes, you will. You are very beauti- 
ful to-night. 

Lione — You only say that to — (Lifting her face 
to him.) Do you really think I am, Fritzie? 

Fritz — I tink it, yah. Und I tink it iss time to 
go already. 

Lione — Come on then — I'll get my coat. 

Fritz — You get your coat und I come. 

Lione — You want to see her. Stay with her 
then. I don't want you to go with me. 

Fritz — I will come as soon as I — 

Lione — Stay with her. I won't be made a fool 
of. 

Fritz — I vill come in ten minutes. 



ACT I 33 

Lione — I don't want you. (Rushing out and 
closing the door with a bang.) 

Fritz — (Calling.) I will come. (Fritz sighs 
and going to piano, plays again as Frank en- 
ters. She goes quietly to her desk — drawing pen 
and paper towards her. Fritz goes to stand at 
L. of desk. She smiles up at him with comfortable 
affection.) 

Fritz — You are tired to-night, Yah? Un? 

Frank — A little Fritz. 

Fritz — Und you must work yet? 

Frank — I'm going out later. 

Fritz — Oh, no. Don't do dot! 

Frank — Oh, I must. If I get what I'm after to- 
night I'll have a fine study. I'm going to have 
supper with a girl from the East side. 

Fritz — I vill be back. I vill go with you. 

Frank — Indeed you won't. 

Fritz — But, I don't want you to go — alone — at 
night. 

Frank — Now — now — Fritzie — if you get fid- 
gety — 

Fritz — Oh — but de talk — de talk — I can't stand 
it for you. When you go out like dis people don't 
believe it is for your work. They say you have a 
lover — they say he writes your books. 

Frank — That's very flattering. It means that 
they think they are too good for a woman to do. 



34 A MAN'S WORLD 

Fritz — But you see you make dem talk when 
you do foolish things. 

Frank — Foolish? You mean going out alone? 
Good Heavens! You don't supose I'm going to give 
up all my chances of seeing and knowing and un- 
derstanding just because a few silly people are talk- 
ing about me? 

Fritz — But you are a woman. You must not 
expect people to trust you — too much. 

Frank — I'm not going to spend my life ex- 
plaining. 

Fritz — (Sitting at L. of desk.) No — but you — 

Frank — Oh, Fritz, don't. You've been so nice 
and so comfortable. And now you're beginning to 
worry. You see how much better it would have 
been for both of us if I'd never told you anything 
about myself and about Kiddie. 

Fritz — Don't say that. You have to talk to 
somebody — sometimes. Don't say you are sorry you 
told me, dot was de most natural ting I haf ever 
seen you do. 

Frank — Natural? Surely, I am nothing but 
natural. I'm a natural woman — because I've been 
a free one. Living alone with my father all those 
years made me so. He took me with him every pos- 
sible place. 

Fritz — Ah — but he was with you to protect you. 



ACT I 35 

Frank — I didn't need much protection. Dad 
wanted me to see — to know — to touch all kinds of 
life — and I surely did. He developed all his stor- 
ies by telling them aloud to me. He used to walk 
up and down the little library and talk out his char- 
acters. So I began to balance men and women very 
early — and the more I knew — the more I tho't the 
women had the worst of it. 

Fritz — Something has made you bitter to men. 

Frank — Kiddie has made me better. Poor 
little nameless fellow! I shall never forget the 
night his mother came to us. I didn't know her 
very well — she was only one of the hundreds of 
American girls studying in Paris — but she came to 
me because she wanted to get away from her own 
set. We kept her and she died when Kiddie was 
born — and then we kept him — because we didn't 
know what else in God's world to do with him — 
and then we loved him — and after father died — 
some how that poor, little, helpless baby was the 
greatest comfort in the world to me. I couldn't 
bear Paris without dad, so I came back to Amer- 
ica. Kiddie was two then, and we set up house in 
this old place three years ago — and here we are — 
and it's nobody's business who he is. I don't know 
who his father was I don't care who he was — but 
my name is better for the boy than his — for mine 
is honest. 



36 A MAN'S WORLD 

Fritz — I tink it iss a too bad ting to be a woman 
wid a big mind, a big soul. Yah, I tink it. But I 
am glad you are one already. 

Frank — Dear old Fritz! 

Fritz — I only wonder wat vill be de end. 

Frank — Kiddie will be the end of everything for 
me. 

Fritz — No — he vill not. Someday you vill lof 
a strong man — and he vill change it all. 

Frank — You don't believe me of course. But, 
its Kiddie — Kiddie I am living for. Everything I 
believe about men and women has been so intensi- 
fied by him that he has become a sort of symbol to 
me of what women suffer through men — and he's 
given me a purpose — something to do. 

Fritz — I tink Malcolm Gaskell has cut me out 
wid — Kiddie. 

Frank — Nonsense! Nobody could do that. 

Fritz — I am not so sure. I think Gaskell can 
get most anything he want — if he try. 

Frank — Why don't you like him, Fritz? 

Fritz — He isn't de kind of a man dot every 
body knows all about and can trust de first time 
you see him. 

Frank — Yes, he is. That's just what Gaskell is. 
Whatever his faults may be at least they're honest, 
right out from the shoulder! 

FRITZ — I am not — so sure. (A pause.) Don't 



ACT I 37 

be sorry to-morrow that you haf talked a Hddle to- 
night. It's gute for you — und don't tink I don't 
understand. Gute nacht. (Giving her his hand.) 

Frank — Good night Fritz. (Fritz goes up to ta- 
ble by piano and picks up his violin case and overcoat 
There is a knock at hall door.) 

Frank — Open the door. (Fritz opens door and 
Malcolm Gaskell stands in the doorway. He is a 
tall, powerful looking man, about 40. The face is 
strong and reckless.) 

Fritz — Speaking of the devil — here iss the old 
boy himself. 

Gaskell — Hello, Bahn, you here? Good even- 
ing, Miss Ware. 

Frank — Good evening, Mr. Gaskell. 

Fritz — Yah — I am here — but I am going. She 
is very tired and very busy. 

Gaskell — You must have stayed too long. (To 
Frank.) Why didn't you send him away? 

Fritz — She did. 

Gaskell — That's good. I came to borrow a 
book. 

Frank — Help yourself. 

Gaskell — (Going to table up L. and se- 
lecting book he sits carelessly on couch.) Thanks. 
(Fritz still stands by door watching Gaskell.) You 
don't seem to be going? 

Fritz — No, I'm holding the door open for you. 



38 A MAN'S WORLD 

Gaskell — I'd rather you'd shut it for me. 

Fritz — Veil — I haf done my best — you see he 
is going to stay. {Frank watches both men, much 
amused. Fritz starts to go as Lione appears in 
doorway. She wears a long coat and is drawing on 
her gloves petulantly.) 

Lione — Well — really, I tho't you were coming 
for me. 

Fritz — Yah — I am just coming. 

Lione — I am not in the habit of going after my 
escorts. 

Fritz — Ach — Lione. 

Lione — It's frightfully late. Of course some 
people are such sirens. (With a withering glance 
at Frank.) Oh — Mr. Gaskell — too. You're so 
popular, Frank. 

Frank — I am with some people. You don't ap- 
preciate me, Lione. 

Lione — At least I understand you. I'm ready, 
Fritz. (She sweeps out — Fritz following meekly, 
nodding to Frank as he closes door.) 

Gaskell — You ought to look out for the stilet- 
to under that Italian cloak. I am sure she's got it 
ready for you. 

Frank — Don't laugh. 

Gaskell — (Rising and going C.) Why not? 

Frank — It isn't a joke — poor girl. 

Gaskell — It is decidedly a joke to see that big 



ACT I 39 

tempestuous Lione bow down to the little pink and 
white Fritz. 

Frank — You're decidedly off when you call 
Fritz pink and white. 

Gaskell — He couldn't be that and love you, I 
suppose ? 

Frank — (Sitting sidewise in the chair at L. of 
desk.) What did you come for? 

Gaskell — Your book. I want to read it again. 
You haven't given me a copy. 

Frank — Why don't you buy one and help the 
sale? 

Gaskell — I did buy one — but I threw it away 
— it irritated me. 

Frank — Then you don't need another one. 

Gaskell — No — I don't need it — I admit, but 
I want it. I want to read it again. I want to see 
why people are talking about it. 

Frank — You don't see then? 

Gaskell — I don't see why they say it's so strong. 
It's clever as the deuce and it's got a lot of you in 
it — but it isn't big. Our paper gave you a darned 
good criticism. Did you see it? (Handing her a 
paper from his pocket.) 

Frank — (Taking paper and getting scissors from 
desk she goes to couch.) Yes, I saw it. Much 
obliged to your paper. 

Gaskell — (Following her.) Your story's all 



40 A MAN'S WORLD 

right — a man couldn't have done it any better — 
your people are clean cut as a man's. 

Frank — Oh, thank you. 

Gaskell — (Standing with his back to fire look- 
ing down at her.) But — it's only a story. You 
haven't got at the social evil in the real sense. You 
couldn't tackle that. It's too big for you. You've 
taken the poverty and the wrongs of the woman on 
the East Side as an effective back-ground for your 
story, and you've let your dare-devil profligate girl 
rail against men and the world. She says some 
darn good things — more or less true — but — you 
don't get at the thing. You keep banging away 
about woman — woman and what she could do for 
herself if she would. Why — this is a man's world. 
Women'll never change anything. 

Frank — Oh ! (Smiling. ) 

Gaskell — Man sets the standard for woman. 
He knows she's better then he is and he demands 
that she be — and if she isn't she's got to suffer for 
it. That's the whole business in a nut shell — and 
you know it. 

Frank — Oh, don't begin that again. I know 
your arguments backwards. 

Gaskell — How did you happen to come here 
anyway? This isn't a good place for you to live. 

Frank — Why did you? 

Gaskell — Oh, this is all right for a man. 



ACT I 4* 

Frank — Rather good for me too. The house 
is filled with independent women who are making 
their own living. 

Gaskell — And you also have a little court of 
admirers here — all more or less in love with you — 
all curious — most of them doubting and all of them 
gossiping about you to beat the band. Don't you 
know that? 

Frank — Let's talk about something else for a 
change. 

Gaskell — Hang it! Somebody's got to tell you. 
You can't live the way you do and do the things 
you do — without running your head into a noose 
— just as any other woman would. 

Frank — I don't know why you take the trouble 
to say all this. 

Gaskell — I don't know why I do myself, for 
Lord knows, I wouldn't stop you in anything you're 
trying to do. I like your pluck. I say go on. I un- 
derstand you — but you needn't think for a mo- 
ment anybody else does. I don't question you. I 
take you just as you are. I suppose you think this 
Dutchman understands you? 

Frank — He isn't impertinent to say the least. 

Gaskell — No, I suppose not. He wouldn't dare 
to disagree with you. 

Frank — Oh, yes he would. Fritz has a mind of 
his own and a very strong character. He is a genius 



42 A MAN'S WORLD 

beside. If he only had a chance to be heard. I 
wish you'd do something for him, you know so 
many people. You've got a lot of influence in that 
direction. Don't you want to? 

Gaskell — Do you really want me to? 

Frank — Oh, awfully. He has the real thing — 
you know he has. Don't you know it? 

Gaskell — Oh, I suppose so, — the real thing is 
fiddling — but that's not much for a man. 

Frank — He's here without friends — without 
money. He ought to be heard. 

Gaskell — What do you want me to do? 

Frank — Talk him up to somebody. He can't 
do that sort of thing for himself. He's too sensi- 
tive and too fine. 

Gaskell — Sensitive and fine — be hanged. That 
won't get him any where. 

Frank — (Rising to go back to desk with the 
clipping.) I hate you when you say things like that. 

Gaskell — (Catching her hand as she passes 
him.) Do you hate me! Do you? 

Frank — Then don't be so — 

Gaskell — So what — ? Don't you think I'm — 
What do you think of me? Tell me. 

Frank — I think you don't mean half you say. 

Gaskell — Oh, yes, I do. And a good deal 
more. You don't mean half you say — they're only 
ideals. 



ACT I 43 

Frank— Oh! 

Gaskell — You'll acknowledge it some day — 
when you care for a man. You won't give a hang 
for anything you ever believed then. 

Frank — Oh, yes, I will — and I'll care what he 
believes. 

Gaskell — {Bending close to her.) You'll be- 
lieve that you've got to live while you are young 
and you'll believe that love is the only thing that 
counts much for a woman. 

Frank — No — no — no ! 

Gaskell — It is. Women are only meant to be 
loved — and men have got to take care of them. 
That's the whole business. You'll acknowledge 
it some day — when you do — love somebody. 

Frank — It would only make me feel more — 
more than ever the responsibility of love of life. 
(She moves back from him — looking at him while 
she speaks). 

Gaskell — (After a pause.) Come out after 
while and have a bite of supper with me. Will you? 

Frank — Oh, couldn't — possibly. (Sitting at 
her desk and drawing a MS. towards her.) 

Gaskell — Please. 

Frank — No — really I can't. I have to work. 

Gaskell — Well — get to work and I'll come 
back for you — any time you say. 

Frank — Can't. I'm going out at twelve any- 



44 A MAN'S WORLD 

way. 

Gaskell — Oh, that's different — if you're going 
out to supper anyway. 

Frank — I'm going to have supper with a girl 
from the East side. 

Gaskell — Why in the name of heaven are you 
going at 12 o'clock? 

Frank — She is going to bring her sweetheart 
for me to see and he can't get off any other time. 

Gaskell — I'll go with you. 

Frank — No, you — 

Gaskell — Yes, I will. 

Frank — Indeed you won't. I want them to be 
natural and talk. She's had a tragic story and this 
fellow knows all about it and is going to marry 
her. She is helping me a lot in my club for girls 
over there — she can get at them because she's been 
through it all and has come out a fine, decent wo- 
man. 

Gaskell — I can't see for the life of me why you 
go banging around over there — wasting your time 
— getting into all sorts of disagreeable things. 
What's the use? 

Frank — What's the use? I call it some use to 
get hold of about a dozen girls a year and make 
them want to lead decent lives. 

Gaskell — (After a pause.) Are you going to 
let your Fritz go with you? 



ACT I 45 

Frank — Of course not. 

Gaskell — Thought perhaps you would. He 
makes a pretty good watch dog trotting around af- 
ter you. Doesn't he? 

Frank — He makes a pretty good friend. (Ris- 
ing) You must skip now. I've got to get to work! 

Gaskell — I don't want to go. 

Frank — Come on. (They walk together to 
door.) 

Gaskell — (Standing in the open door.) You're 
awfully hard on me. 

Frank — Poor you! 

Gaskell — That's right. You don't know how 
nice I could be if you didn't fight with me. 

Frank — You always begin it. 

Gaskell — Will you come to dinner to-morrow 
night and see a show? Will you — will you? (Af- 
ter a pause she nods smilingly.) Good. (Taking 
her hand.) And we won't fight? (She shakes her 
head.) Not a bit? 

Frank — (Drawing her hand away.) Not a 
bit. 

Gaskell — If you were only as kind to me as 
you are to — everybody else — I'd be — 

Frank — You wouldn't like me at all. 

Gaskell — Try it. 

Frank — I couldn't. Nobody could get on with 
you without fighting. 



46 A MAN'S WORLD 

Gaskell — Oh, don't say that 

Frank — It's the truth. You're a head-strong, 
domineering — 

Gaskell — Just because I don't crawl at your 
feet the way the other fellows do. Do you hate me ? 

Frank — You said that before. Skip now. Good- 
night. 

Gaskell — {Taking book out of pocket.) Are 
you going to give me this? 

Frank — I said no. 

Gaskell — But I've got it. 

Frank — {Putting her hand on the book.) But 
I haven't given it to you. 

Gaskell — You'll never give me anything. I'll 
have to fight for it. {He snatches her hand and 
kisses her wrist and arm and goes out — closing the 
door. Hesitating she puts her hand over the arm 
where he kissed it and puts her arm on the door 
hiding her face in it.) 

CURTAIN 



ACT II. 

Scene — A room in the same house, occupied by 
Clara and Lione. Long double windows at back. A 
single door at L. leading into hall. A single door at 
R. opening into a closet. An old-fashioned fire- 
place below closet at R. 

Down R. below the fire-place a large hassock. 
Before upper end of fire-place a large arm chair. 
To the right of windows at back a couch bed — 
covered with a dark cover, and holding two pil- 
lows. Before the windows are two screens for 
holding pictures. They have only a single panel 
and stand on spreading feet, and are made 
of a plainwood and brown canvas. To the L. 
of windows is a wash stand, with bowl, pitcher, 
etc., of flowered china. Above the door at L. is a 
bureau crowded with toilet articles, a small china 
bowl, a few books, cigarettes, matches, etc. 

Half hiding the bureau and wash-stand is a large 
screen of four leaves. Below the screen an upright 
piano, and at L. C. a good sized round table with a 
chair between it and the piano. A chair to R. of 
table, and one below it to the L. 

At L. below the door is another couch bed, cov- 
ered with a dark cover, and holding several pillows. 
47 



48 A MAN'S WORLD 

On the table C. are a brass tea service and a dozen 
teacups and saucers of various kinds — and a white 
lace cover. 

On the piano are piles of music and a small clock. 
The mantel holds a brass candle stick, a few orna- 
ments and a great many photographs. 

The furniture is old fashioned, heavy black wal- 
nut. The walls are covered with a dull faded pa- 
per — which is badly torn above the couch at R. 
There are a few effective pictures — water-colors 
prints, etc., on the walls. 

Time — Four weeks later, 2 o'clock in the after- 
noon. 

At curtain — Lione, with the front of her skirt 
turned up and a towel pinned over it as on apron, 
is sitting on the couch down L., polishing a brass 
candle stick with a flannel rag. Clara wears a skirt 
and shirt-waist, which do not meet in the back, and 
a much besmeared painting apron. The same lock 
of hair of act one is constantly falling over her face 
and she mechanically pushes it back. 

Clara — (Going to take a work-basket from the 
table to put it on bureau at L.) Oh, dear! I hope 
it pays for all the trouble. Cousin Mabel may have 
one of her headaches at the last minute and not 
come at all. She's really awfully pleased with her 
miniature. It flatters her horribly. I do want to 
be honest and true in my work, but what are you 



ACT II 49 

going to do? No woman will accept a miniature 
unless it does flatter her. 

Lione — I hope to goodness somebody gives you 
an order after this affair. I'm ruining my hands 
cleaning these things. 

Clara — Don't do them well. We'll never be 
ready by four o'clock. It's two now. {Taking 
hat from arm chair and dropping on her knees be- 
fore the couch up R. She draws a hat box from un- 
der the bed and puts the hat in it.) 

Lione — If your cousin doesn't come, I'd never 
speak to her again in all my life, if I were you. 

Clara — (Getting flat on the floor to reach a 
dress box under the bed.) Oh, pooh! She wouldn't 
care whether I did or not. 

Lione — Your cousin Mabel's a damned snob — 
that's what she is. 

Clara — (Taking a shabby afternoon gown from 
the box.) — Oh, she doesn't mean to be. She's just 
like everybody else in her world. (Examining the 
gown.) 

Lione — I hate 'em. Ignorant, idle, society wo- 
men. That's all they are. 

Clara — You'd give your ears to be one tho'. 

Lione — (Rising and leaving candles on couch, as 
she goes to look at herself at bureau.) I wouldn't 
I wouldn't give up my career for anything on earth. 

Clara — Yes, that's what I used to think — but 



50 A MAN'S WORLD 

somehow, I'm not so keen about my — Goodness, 
this is mussed and shabby! Absolutely the only 
rag I've got to wear. {Hanging the gown on the 
chandelier below the fireplace she pushes the box 
back — and arranges the cover on couch.) Oh, I 
must get the rest of the miniatures up. Here's 
Kiddie's picture. Where's the best place to put 
this? 

Lione — I think Frank's got an awful nerve to 
let you display it at all. 

Clara— Why? 

Lione — Why? Because people will ask who he is. 

Clara — Oh, well, I'll just say he's a little boy 
that Frank Ware adopted. 

Lione — {Going to put a candle stick on mantel.) 
Yes, that sounds well. 

Clara — Well, it's plausible. {Putting the mina- 
ture on the screen and standing back to see how 
it looks.) 

Lione — Not to me. The men say she isn't in 
love with Gaskell. Why, she is, head over heels — 
and sometimes I think — 

Clara— What? 

Lione — Sometimes — I think — {Going to Clara.) 
— he is Kiddie's father. 

Clara — What? Oh, horrible, Lione. She nev- 
er saw Gaskell till she came here. 

Lione — Yes, so they say. Let me see Kiddie's 



ACT II 51 

picture. Frank used to live in Paris, and so did 
Gaskell. 

Clara — Oh, Goodness! I never dreamed of 
such a thing. 

Lione — (Going to sit at R. of table and looking 
closely at miniature.) Several times I've thought — 

Clara — You'd better keep on working. The 
tea table isn't ready at all. I hope to goodness no- 
body looks behind this screen. 

Lione — (Starting as she looks at picture.) It 
isn't imagination. I do see it — as true as I live. 

Clara — What's the matter? 

Lione — Look! Come here. 

Fritz — (Calling as he knocks.) Can I come 
in? 

Clara — Yes, come. (Fritz enters carrying a 
screen like the others. He is in his shirt-sleeves.) 
Oh, you angel! Put it over there. The screens are 
perfectly splendid. I'm so grateful. Really I am. 
You've so clever to have made them. I never could 
have afforded to have them if you hadn't — 

Fritz — (Putting screen near the others.) I like 
to do it. 

Clara — You're a genius, Fritz. 

Fritz — Yah — but I am too many kinds of a 
one. Dat iss my trouble. 

Clara — (As they adjust the screens.) You 



52 A MAN'S WORLD 

ought to stick to your violin. That's where your 
genius is. 

Fritz — Yah. But de great American public 
doesn't seem to know it. 

Clara — Yes — I know — I know. Isn't it awful? 
I hope to goodness somebody gives me at least one 
order from this exhibition. 

Fritz — Oh, yah, you get some. 

Clara — I wish I were as cheerful as you are. 
Did you ask Emile if I could have his tapestry for 
this afternoon? 

Fritz — Ach du lieber! You ask him. He vill 
not gif it to me. Dot tapestry is de apple core of 
his eye. 

Clara — I'm going to ask him now. It won't 
hurt it a bit and I want it awfully to put above 
that couch over there — to hide the hole in the pa- 
per. (She goes out.) 

Fritz — (Going to look over Lionels shoulder.) 
What are you looking at? 

Lione — (Hiding the miniature.) Nothing. 

Fritz — Let me see. 

Lione — I've just decided something. Something 
I've half way believed for a long time. 

Fritz — What is dot? 

Lione — I don't know that I'll tell 5'ou. 

Fritz — Please. 

Lione — I've found out something and you'll pre- 



ACT II 53 

tend not to see it. 

Fritz — How do you know that unless you tell 
me what it iss? 

Lione — Because I know you. 

Fritz — Tell me, please — please. You have very 
pretty eyes. 

Lione — Had you forgotten that? 

Fritz — No. 

Lione — It's the last woman who comes along 
with you, Fritz. 

Fritz — Every woman keeps her own place in a 
man's heart. 

Lione — What I don't understand about you is 
— how can you let a woman flirt with you when 
you know she is crazy about another man. 

Fritz — You mean Frank? She does not flirt 
with me. She iss a friend. 

Lione — Will you admit that she's in love with 
Gaskell? 

Fritz — She don't want to love any man. 

Lione — Oh, is that what she tells you? 

Fritz — No — no — she tells me nodding. Dat iss 
what I tink. 

Lione — You do? Well, you're about as wise as 
a kitten. I know she's in love with Gaskell and I 
think she always has been — that is — long before she 
came here. 

Fritz — Ach! Why? Why you tink dot? She 



54 A MAN'S WORLD 

never know him. 

Lione — (Lifting the miniature.) Whom does 
Kiddie look like? 

Fritz — What do you mean? 

Lione — Look. 

Fritz — No, no — I will not look. 

Lione — (Catching his arm.) Why won't you 
look? Are you afraid to? 

Fritz — No — no — I am not afraid. Why should 
I be? 

Lione — Why you are so excited? 

Fritz — I am not excited. 

Lione — You are. Oh! You see the resem- 
blance too, do you? 

Fritz — What resemblance? I don't know what 
you are talking about. 

Lione — Don't you? Who is he like thro' the 
eyes? 

Fritz — Who ? He iss like himself. 

Lione — (Holding the picture before him.) It's 
Malcolm Gaskell! 

Fritz — (Closing his eyes.) Ach Gott! What 
do you mean? 

Lione — You know what it means. Frank came 
here alone with this child. There is a mystery 
about her — then Gaskell comes — they're in love 
with each other and pretend not to be. I'll bet any- 
thing you like, Gaskell is this boy's father. 



ACT II 55 

Fritz — You have made it all up. 

Lione — You either know it's the truth or you're 
afraid it is. I'll tell her that I know. 

Fritz — No. 

Lione — I will — I will — I will. There's no rea- 
son why I shouldn't and there's every reason why 
I should. 

Fritz — Listen to me. If you will promise to 
keep still — if you will promise to say nodding to 
anybody about it, I will tell you what I tink. 

Lione — (Looking at him keenly.) What's that? 

Fritz — Frank has told us he is de child of a 
woman who died. 

Lione — Yes — but who is the father? 

Fritz — She don't know who de fadder was. But 
when Gaskell first came here / see dis resemblance 
and / believe he is de boy's fadder. Maybe he don't 
know it — maybe he do — but Frank don't know it. 
I am as sure of dat as I am standing here. 

Lione — Fritz, you must think I'm an awful fool. 
Of all the cock and bull stories I ever heard — that's 
the worst. 

Fritz — It might — it might be. Dis iss a strange 
und funny old world. 

Lione — But it isn't as funny as that. Oh, Fritz, 
I want to save you from this woman, from her in- 
fluence. 

Fritz — She iss de best influence dot efer came into 



56 A MAN'S WORLD 

my life. 

Lione — What's going to come of it? 

Fritz — Nodding. 

Lione — You love her? 

Fritz — You are two women, Lione. You and I 
used to haf such good times togedder. I lof your 
voice, Lione, you haf someding great in it. I like 
to play for you when you sing. You are so jolly 
and so sweet when you — when you are nice. Why 
can't it always be so? Why can't we always be 
friends ? 

Lione — She's changed everything. She's spoiled 
everything. She's ruining your life — and I'm try- 
ing to save you. 

Fritz — No — Lione — you don't — 

Lione — I've wasted my friendship on you— 
wasted it — wasted it — ! 

Clara — (Opening the door.) Yes — yes — if I 
get an order from this exhibition I'll blow you all 
to a supper. (Emile folloivs. He is in his blouse 
and carries a large tapestry over his shoulder. 
Wells comes next carrying a quantity of curious 
daggers j foils, Indian weapons, etc.) 

Emile — Where will you have it? 

Clara — There — over there. (Pointing above 
couch up R. Put that stuff on the arm chair, 
Wells — till we put it up. I'm so much obliged. 

Wells — (Striding across the room with the tap- 



ACT II 57 

estry dragging he stops C. and recites elaborately.) 
Clara, I've composed an ode to the occasion. 

Ahem! 
Clara, Clara's giving a show, 
She makes miniatures, you know; 
She gives you cake, she gives you tea, 
She's polite as she can be. 
But don't just eat her cake and tea, 
She would like some cash you see. 
Don't say just — "How charming dear. 
Oh, how quaint and sweet and queer!" 
But let her paint your pretty faces 
With a rose bud and the laces. 
Then the checks that you have sent 
Will pay our Clara's board and rent. 
{The others laugh and applaud.) 

Wells — {Suddenly seeing Clara's gown hang- 
ing below fireplace j and springing back.) Great 
Heavens! Is that your astral body? 
Clara — No, it's my last year's body. 
Emile — Where did you say to put zis? 
Clara — {Going to couch R.) Right over this. 
It will cover the hole. 

Emile — Mais! Mon Dieu! Ze tapestry will 
not show. It belong to Napoleon. 

Wells — {Holding out Indian hatchet.) This 
belonged to George Washington. 

Clara — Get up there, Emile. You take the oth- 



58 A MAN'S WORLD 

er end, Wells, and I'll get you some tacks. 

Wells — (As he and Emile get on couch.) 
Where are you going to put the weapons of war- 
fare? 

Clara — (Going to bureau and taking tacks out 
of china bowl.) Right over the tapestry. 

Emile — Sacre! You are not going to put ze 
relics of your savages with ze tapestry of Napoleon ! 

Clara — (With tacks in her mouth.) Why not? 
It will be effective and nobody will notice whether 
they really go together or not. 

Emile — Zat is ze American. You mix your 
Art until nobody knows what you mean. 

Clara — I don't want it to mean anything. I 
want it to cover the hole. Here — (Holding up 
shabby slipper and tacks.) 

Emile — (Taking slipper.) What is zis for? 

Clara — To pound with, of course. 

Wells — You wouldn't expect that artistic tem- 
perament to have a hammer, would you? Go on. 
Hold up your end and fire away, Napoleon. Don't 
stop for details. (Emile and Wells begin to hang 
the tapestry. Lione has sat on the floor by the couch 
down L. and taking a box from under it gets out 
teaspoons which she rubs with a towel.) 

Clara — That isn't straight. Lift your end — 

Frank — (Coming in carrying a large bunch of 
roses in a paper. She is wearing a very charming 



ACT II 59 

afternoon gown and hat.) Hello, everybody. 

All — {Except Lione.) Hello! Hello, Frank! 

Frank — How're you getting on? Oh, how nice 
you're going to look. 

Clara — And how nice you look. 

Frank — I bought these for your tea table. 

Clara — You darling! Just what I wanted. But, 
how awfully extravagant! 

Frank — Not extravagant at all. Marked down 
on the corner. Not warranted to last over night — 
but I think they'll get through the afternoon. Have 
you got anything to put them in? 

Clara — Nothing high enough. 

Frank — Get the tall vase out of my room — will 
you, Fritz? And isn't there anything else you want? 

Lione — We have everything we want thank you. 

Frank — You're lucky. Here's the key, Fritz, 
will you get the vase? 

Fritz — Yah, I get it. {Going out with the 
key.) 

Clara — {Moving the large screen so the bureau 
and wash stand are hidden.) You'll sit here, Frank, 
when you serve the tea. 

Frank — {Squeezing into the chair between the 
table and piano.) Give me room enough to get 
in. 

Clara — Oh, well, you can get in before the peo- 
ple come. Now, Emile, listen. You said you'd help 



60 A MAN'S WORLD 

Frank with the tea. When you take the cups away 
don't move the screen what ever you do. Just hand 
them around like this. See — 

Emile — Bien. 

Clara — And Mrs. Grumper will be behind the 
screen washing. 

Wells — What ? 

Clara — Washing cups, you goose! 

Wells— Oh! 

Clara — And all you have to do, Emile — 

Wells — All you have to do is to whisper — "One 
wash." 

Frank — (Laughing.) What are you going to 
have — just tea? 

Clara — Heavens yes. Don't you think it's 
enough ? 

Frank — Oh, of course. I only wanted to know. 

Wells — Nothing else — on the side? 

Clara — Oh, I wouldn't dare. Cousin Mabel 
would say there was drinking and carousing going 
on. 

Wells — Give Cousin Mabel a drink or two 
and she might pay for her picture. 

Frank — Kiddie's quite excited about his picture 
being displayed. (Lione looks up at Frank quickly 
and watches her a moment.) He said this morning 
— "Don't you think I ought to be there and see if 
they could guess who it is?" 



ACT II 61 

Clara — Bless his heart! 

Wells — Yes, you might make it a guessing party, 
Clara. 

Lione — To guess who Kiddie is, you mean? 
( There is a slight pause as they all look from Lione 
to Frank.) 

Wells — I meant to guess which is Kiddie's pic- 
ture. 

Frank — We might all guess now — what Lione 
means. (A pause — Lione rises puts spoons on ta- 
ble — looks at Frank and goes up to window.) 

Fritz — {Enters with medium sized glass vase.) 
Here you are. 

Frank — No, you aren't. That isn't it at all. I 
meant the tall one. 

Fritz — Ach du liever! Dis iss all I see. 

Frank — (Rising.) I'll get it. 

Fritz — No — I'll go back. I am sorry. 

Frank — I'd rather go — thank you. I want to 
get something else. Oh, Clara, — don't you want 
some more pillows and rugs and things? 

Clara — I'd just love them. 

Frank — And are you going to wear that? 
(Pointing to the gown hanging on the chandelier.) 

Clara — Yes — It's all I've got. 

Frank — Don't you think it would be rather 
pretty with that little lace jacket of mine over it? 

Clara — Oh, heavenly! May I? 



62 A MAN'S WORLD 

Frank — Of course. (Clara pushes her lock of 
hair back.) And I wish you'd let me do your hair. 
I'd love to try it a different way. 

Clara — You're an angel. I wish you would. I 
don't seem to be able to make it stay up. It drives 
Cousin Mabel crazy. Wells says it's temperament, 
you know. (Giggling.) 

Frank — Well, lets see if we can't hold your tem- 
perament in a little. 

Clara — You're awfully good, Frank. Really 
you are. 

Frank — Nonsense! Fritz, will you come and 
help me bring some things? Fritz! 

Fritz — Yah ? 

Frank — Will you come and help me bring some 
things ? 

Fritz — Oh, yah, I come. (He goes out with 
Frank closing the door.) 

Clara — Frank's a dear. She's got the biggest 
heart. 

Emile — I do not sink Fritz tinks her heart is 
quite big enough. He would like to get in. 

Wells — (Kicking Emile and looking at Lione.) 
You don't know anything about her heart. 

Clara — I wish I did. I think it would be aw- 
fully interesting to know whether she really cares 
for Gaskell or not. 

Wells — Give us more bric-a-brac, Clara, if you 



ACT II 63 

want it all up. 

Clara — Oh, yes, use it all. (Giving Wells an- 
other weapon from chair.) 

Emile — I tell you she love somebody. Zat iss 
her charm — her mystery. She could not be what 
she iss wiz out love. 

Wells — She's a mystery to me all right, all 
right. 

Clara — She certainly is to me. 

Lione — She certainly is not to me. Look here 
— all of you. (Holding out the picture.) Whom 
does Kiddie look like? 

Clara — Oh, gracious! What do you mean? 

Lione — Simply what I say. Whom does he look 
like? 

Emile — You mean like Frank? 

Lione — No, no. Not like Frank. Look now — 
thro' the eyes. 

Clara — I don't see it — and I ought to if any- 
body does — I painted it. What do you mean, Lione, 
anybody we know? 

Wells — You couldn't very well see a resem- 
blance to anybody you didn't know. 

Clara — Well, dear me. I don't see — thro' the 
eyes — Oh, Heaven's — yes — I do. 

Lione — You see it! Wait! — Don't say anything. 

Wells — Oh, you can imagine anything. 

Lione — You can't imagine anything as strong 



64 A MAN'S WORLD 

as that. 

Clara— Yes — I actually — 

Emile — Ah! Mon Dieu! I see what you mean. 
It is Gaskell. 

Wells — What — 

Emile — Ah! C'est extraordinaire! 

Lione — {Looking triumphantly at Wells.) We 
all see it. 

Wells — Rot — rot ! Nothing of the sort. I don't 
see the slightest — 

Lione — Wc see it. All of us. 

Clara — I think I do — I did. It sort of comes 
and goes. 

Wells — Especially goes. I don't see it. 

Lione — You're blind. Look — it's Gaskell. That 
child looks like Malcolm Gaskell — and any body 
can see it. Unless they don't want to. 

Emile — Mais oui! I see it. It is here, the eyes. 
For you — Clara, it iz wonderful — you haf caught 
ze trick wiz ze eyes. 

Lione — Of course it's there. 

Clara — Oh my! I think it's awful. What do 
you mean, Lione? I don't know what you mean. 

Wells — Nothing. It doesn't mean anything. 

Lione — Oh, no. Nobody means anything — no- 
body knows anything — nobody says anything — but 
you all think what I do — and you haven't got the 
courage to say so. I have you know. I believe in 



ACT II 65 

saying what you think — and not pretending to be 
fooled. 

Wells — Well, now, what of it? What if what 
you imply is true. What of it? What's the good 
of digging it up? 

Clara — Oh, dear! I don't believe it at all. 

Emile — I tell you all — all ze time — you are fool- 
ish as babies not to understand. 

Wells — Oh, yes, you understand a lot, you do. 
I say, what's the use of talking about it? Let it 
alone. 

Lione — Oh, very well, if that's the sort of thing 
you accept and believe in — that's your affair — but I 
don't propose to help a woman of that sort keep up 
appearances by pretending that I don't see what's 
right under my nose. 

Clara — Oh, dear! I never was in anything like 
this before. I think you have to have strict ideas 
even if you are broadminded. I do think — Oh, 
dear! I don't know what to think. 

Emile — You amuse me — all. You pretend to 
live in ze world of art and freedom and yet you 
make ze grand fight about — about what? What are 
you talking about? What do you expect — you 
funny Americans. She is a great woman — she must 
live and love and — 

Lione — You needn't say that to me. I don't 
— {Frank knocks and opens the door. Lione puts 



66 A MAN'S WORLD 

the miniature back in her blouse. Frank has taken 
off her hat and coat. She carries a sofa pillow under 
each arm, and the lace coat. She has also the vase 
and the two framed pictures in silver frames in her 
hands. Fritz follows with four pillows and a rug.) 

Frank — (Laughing.) We met old Grumper in 
the hall and she tho't the house was on fire. (An 
uncomfortable pause.) You don't seem to think that 
is funny. (Putting vase on table and throwing the 
two pillows onto the couch L. she hangs the coat over 
screen.) This is the vase I meant. (Fritz goes be- 
hind piano and filling vase from pitcher puts it on 
table and remains up C.) 

Wells — Come on, girls, your lunch is ready. 
Sorry we didn't know you'd be home, Frank. We've 
only got enough for four. 

Frank — That's all right. I've had my lun- 
cheon. 

Lione — Come on, Clara. 

Clara — You don't mind my going, do you, 
Frank ? 

Frank — Of course not. I'll do the flowers for 
you. 

Wells — We've only got salad and cheese. 
Thought the girls wouldn't have time to go out 
to-day — so we're setting them up. 

Frank — How nice of you! 

Emile — (To Frank.) You are an angel. Je 



ACT II 67 

vous adore. 

Clara — I hate to go and leave you — but — 

Lione — Come on Clara, don't keep everybody 
waiting — (Lione goes out.) 

Wells — (Catching Clara by L. hand and pull- 
ing her to door.) On, Clara, on, to the feast. On 
Clara, let us be mad and gay while life is fleeting. 
(Exit Wells, Emile, and Clara laughing.) 

Frank — Weren't you invited to the party? 

Fritz — Nein. No, I was not invited. 

Frank — Put the pillows on the other couch. I 
do hope this affair does Clara some good. The 
screens are splendid. Where's Kiddie's picture? 
Do you know? 

Fritz — A — no, I don't know. 

Frank — (Going to look on the screens.) I 
don't see it. 

Fritz — Oh, I think she has not yet hung them 
all. 

Frank — It looks as if she had. I don't see it. 
Funny! Is it on that one? 

Fritz — No. 

Frank — Here's a vacant space. Maybe she's 
taken it down. I wounder where it is. Oh! 

Fritz — What it is? 

Frank — I just tho't of something. 

Fritz — What is dot you tink of? 

Frank — I tho't maybe Lione took it down. I 



68 A MAN'S WORLD 

have a sort of feeling about the miniature from 
something she said just now. Fritz, tell me 
honestly. Do they talk about it much? Do they? 
Oh, they do. 

Fritz — Frankie, I want you to do something. 
You must tell them — more about Kiddie. 

Frank — No ! Fritz, do you doubt what I've told 
you about him? 

Fritz — If I do not believe you, I believe nod- 
ding in de world. But — 

Frank — But what? 

Fritz — But you see you haf gifen me your con- 
fidence. You haf only tell a little to dem — just 
enough to make dem doubt — and it hurts you. 

Frank — All I want to do is to keep still and 
help Kiddie make his life clean and honest, and then 
let the world judge him by himself. I don't see 
anything foolish in that. 

Fritz — That's all very well for him — but you 
must think of yourself too — your reputation. 

Frank — Now, see here, Fritz, I care just as 
much about my reputation as any woman in the 
world, but this talk is only idle gossip and curiosity 
and I'm not going to let that force me to do a 
thing that I know isn't right. 

Fritz — Den I ask you something else — Tell 
Lione — 

Frank — No ! 



ACT II 69 

Fritz — You tink I'm crazy — but I tell you if you 
make Lione your friend — if you make her under- 
stand you — she will kill all de talk — she will be a 
help. You need a woman on your side, and if once 
you get Lione, she fight for you — and she wipe up 
de floor mit everybody else. 

Frank — I don't want to buy her friendship. 

Fritz — No — no, it would not be dot. She — I 
tell you she need you, too. She need a good woman 
friend. Lione has a big heart, if it is — if it just get 
hold de right ting. She fight you now — but it is 
only like a big child dat don't know how to control 
its badness. If you just get her once — you could 
make her lof you, if you try — but first she has got 
to belief you. 

Frank — You're a funny, dear old boy, Fritz. 
I'm just as much to blame as Lione when we scrap. 

Fritz — Will you do it? Will you tell her? 
Will you? 

Frank — Yes, I will. 

Fritz — Ah — I am so glad. ( There is a knock at 
the hall door.) 

Frank — Yes, come in. 

Gaskell — {Opening door wearing his hat and 
coat.) Hello! (Looking jealously from one to the 
other.) 

Frank — {Moving toward Gaskell.) Oh, hel- 
lo, what are you doing here this time of day? Did 



70 A MAN'S WORLD 

you come to the exhibition? You're rather early. It 
doesn't begin till four o'clock. 

Gaskell — Oh, is this the day for the show? No 
— I came to — I went to your room, Bahn, and I 
went to yours — (To Frank.) There's a concert 
on for this afternoon — and the young violinist who 
was booked to play is laid up — fell and broke his 
arm this morning. The manager — Holbrooke, is 
a friend of mine, and called me up because I had 
spoken to him about you. (Nodding to Fritz.) 

Frank — Oh — 

Gaskell — Will you go on? Will you play? 
Chance of your life. Cracker-jack audience. 

Frank — Oh, your chance has come at last Fritz! 
It's too splendid — I could cry — it's too splendid. 
You'll play the concerto and then you must play 
your own slumber song. It's too splendid — I can't 
believe it. (Turning to Gaskell.) Think what it 
means to him — Oh, Fritz! I'm so glad. I'm so — 
What will you play, Fritz? 

Fritz — I cannot play. 

Frank — What? 

Fritz — I cannot play. 

Frank — What do you mean? 

Fritz — Dot is what I mean. I cannot play. 

Frank — Have you gone mad? It's the chance 
of your life, as Mr. Gaskell says. Are you fooling? 
Here's the opportunity — in your hand — are you go- 



ACT II 71 

ing to take it? 

Fritz — We cannot always take what comes. 
(Looks at Gaskell.) I cannot take dis. (He goes 
out closing the door. Frank and Gaskell stare at 
the door for an instant.) 

Frank — I don't understand. 

Gaskell — Impudent pig-headed — irresponsible 
set — every one of them. How do they expect to 
get along if they don't take a chance when you hand 
it out to them ? Bohemians ! Geniuses ! Damn fools, 
I say. 

Frank — Oh, Fritz, isn't like that. There's 
something else — some reason. What was the mat- 
ter with him ? Something came over him — I don't — 

Gaskell — Why, it's me — that's what's the mat- 
ter with him. He won't take it from me, because 
he's so jealous of you he's crazy. If I'd known he 
was such a fool, I'd have had them send to him di- 
rect, so he wouldn't have known I had anything to 
do with it. That would have pleased you? But I 
tho't the safest and quickest way to get him was to 
come and find him myself. Sorry I've balled it up. 
You're friend's so fine and sensitive I don't know 
how to handle him. 

Frank — Don't be unjust to Fritz just because 
you've lost your temper. I must say I don't blame 
you for that — he did seem awfully rude and un- 
grateful, but I know he didn't mean it. He — 



72 A MAN'S WORLD 

Gaskell — Mean it? Good Lord, what did he 
mean then? 

Frank — That's just what I don't know. 

Gaskell — You're trying to find another reason 
for what's just plain ordinary jealousy. Do you 
want me to keep out of his way? 

Frank — Don't be ridiculous. 

Gaskel. — (Taking both her hands.) Do you 
want me to clear out and let you alone? 

Frank — (Trying to draw her hands away.) 
This has nothing to do with the case. 

Gaskell — Yes, it has. Everything to do with it. 
He doesn't make any more difference to me than a 
mosquito — but if you — good God, I love you — and 
you know it. (He catches her to him and kisses 
her, then sloivly lets her go. She puts her hands 
over her face and turns away.) 

Gaskell — I — you've kept me outside. I know 
he knows— the whole business — what ever it is. 
You've shut me out. But I know you're making 
a mistake by making a mystery of your life. 

Frank — You mean I ought to tell about 
Kiddie — explain and prove every bit of my life? 

Gaskell — I don't put it that way. I mean 
everything ought to be — open — understood. 

Frank — I tho't you said you accepted me just as 
you see me here — just as you accept a man. 

Gaskell — In the beginning I tho't I did. But, 



ACT II 73 

when a man loves a woman — the whole world 
changes to him. He wants to protect her — he wants 
to understand her. He wants to look into her eyes 
and see the truth. 

Frank — You're afraid of what you might see 
in mine? 

Gaskell — Tell me — what ever it is. 

Frank — Why should I? 

Gaskell — Frank, don't fool with me. I love 
you. That's why I ask. That's why I care. I 
want to understand you. Why won't you tell me? 
Have you told this other man? 

Frank — He never asked me. 

Gaskell — Do you love him? Are you going 
to marry him? Are you? You've got to tell me 
that. Are you going to marry him? 

Frank — No. 

Gaskell — Then I'm going to make you love 
me. I love you. I love you — I tell you. This 
child is the most important thing in your life. I ask 
you to tell me what he is to you. 

Frank — How dare you say that to me? 

Gaskell — Because I love you. That gives me 
the right. 

Frank — What if I said to you ; "I love you, but 
I don't believe you. You must prove to me that 
everything in your life has been just what / think 
it ought to be." 



74 A MAN'S WORLD 

Gaskell — I'm a man. You're a woman. I love 
you. I have the right to know your life. 

Frank — You mean if Kiddie were my own child, 
you couldn't ask me to marry you? 

Gaskell — Is he? 

Frank — And if he were? Can't a woman live 
thro' that and be the better for it? How dare a 
man question her! How dare he! 

Gaskell — Do you mean — (Lione throws open 
the door and stops in supercilious surprise.) 

Lione — Oh — I beg your pardon! I didn't know 
Mr. Gaskell was here. I should have knocked. 

Gaskell — It's always a pretty good idea to 
knock, don't you think? 

Lione — Oh, I don't know. I'm such an open 
frank, sort of a person that somehow it never oc- 
curs to me that I ought to knock at the door of my 
own room. (Emile, Wells and Clara follow he? 
in.) 

Frank — There are some people who think all 
doors ought to be open — always — even to the 
innermost rooms of one's soul — so that all the 
curious world may walk in and look about and see 
if he approves of what he finds there. 

Lione — Do you mean I am one of those? 

Frank — You know whether you are or not. 

Lione — If you mean I am curious about you, 
you're mistaken. I'm not curious — and I am not 



act ii 75 

deceived. 

Frank — Deceived ? 

Lione — No. The real situation is too apparent 
for me to pretend not to see it. 

Frank — You'll have to speak plainer than that. 

Lione — Do you really want to discuss it here? 

Frank — I do. 

Lione — Well, really, if you insist. A certain 
resemblance in Kiddie's miniature attracted my at- 
tention. We all see it. 

Wells — I object, Lione — 

Emile — If you please — 

Clara — How can you, Lione? 

Frank — Where is Kiddie's miniature. I couldn't 
find it. 

Clara — It must be there. 

Frank — No, it isn't. 

Clara— Why, I— 

Lione — (Holding it out to Frank.) Here it is. 

Frank — A certain resemblance — you say? (Fritz 
comes into the open door.) 

Lione — (Looking at Fritz.) We all see it. 

Fritz — (Stepping forward.) You have broken 
your promise. 

Lione — No! I promised if you told the truth — 
but you told me an absurd thing. Fritz saw it too, 
but he has a different explanation, of course. 

Fritz — (Looking at Frank in agony of appeal.) 



76 A MAN'S WORLD 

No! Don't— 

Gaskell — What do you all mean ? What resem- 
blance are you talking about? Confound your im- 
pertinence! What do you mean? 

Lione — I'll tell you — 

Fritz — No, you will not. 

Lione — I will. Why shouldn't I? I will. 

Fritz — No, I say you will not. 

Gaskell — Tell it — tell it ! Say it. What do you 



mean 



Lione — I mean — 

Frank — You needn't. They mean that Kiddie 
looks like me. (A pause. They stare at Frank as 
she walks out quietly.) 

CURTAIN. 



ACT III 

Time — Six hours later. Eight o'clock the same 
evening. 

Place — Same as Act I. Chandelier and both 
lamps are lighted — shades are drawn in windows. 

At curtain — Frank wearing a house gown of 
striking simplicity , is seated by table sewing. Kiddie 
on the couch, is reading aloud. 

Kiddie — {Reading.) And — Fido — runs and — 
gets — the ball — f-r-o-m — from — the water — and 
takes — it — to his m-a-s-t-e-r. 

Frank — Master. 

Kiddie — Master — and Willie — takes — it — to his 
f-a-t-h-e-r? 

Frank — You know that. 

Kiddie — No, I don't. 

Frank — Look at it again. 

Kiddie — F-a-t fatter. 

Frank — No — no. 

Kiddi e — F-a- t-h — father. 

Frank — Of course. . 

Kiddie — What's my father? 

Frank — Why do you ask that? 

Kiddie — 'Cause to-day at school two boys were 
talking about their fathers and one said his was a 
77 



7 8 A MAN'S WORLD 

lawyer and one of 'em said his was a barber. 

Frank — A barber? 

Kiddie — Or a banker — I don't remember. 

Frank — Oh ! 

Kiddie — And they asked me what mine was. 
What is he? 

Frank — {Going to sit beside Kiddie.) He went 
away a long time ago — You don't want him. Aren't 
I a good father? Don't I give you all you need? 

Kiddie — Maybe I don't need one — but I'd like — 

Frank — Like what? 

Kiddie— Oh, I'd just like to see him sittin' 
round. 

Frank — I love you as much as if I were 
your father and mother and sisters and brothers and 
uncles and aunts. You have to be all those to me, 
too, you know, because I haven't any. We must 
tell each other everything and keep close and think 
all the time of how we can make each other happy. 
Mustn't we? 

Kiddie — If you want to make me happy, why 
didn't you take me to see my picture this afternoon? 
That made me very z/rchappy. 

Frank — It made me unhappy too, but I really 
couldn't take you, dearie. Something happened. I 
really couldn't take you. I'm so sorry. 

Kiddie — But it's just down stairs. I could have 
gone by myself. {Looking at her closely.) Have 



ACT III 79 

you been crying? 

Frank — No — no. Are my eyes red? 

Kiddie — Your nose is. 

Frank — Do you love me? 

Kiddie — You bet. 

Frank — How much? 

Kiddie — As much as — (Stretching his arms out 
full length. There is a knock at door.) 

Frank — Oh — 

Frank — You open the door, Kiddie. (Kiddie 
marches to the door and opens it wide. Gaskell 
stands in the doorway.) 

Kiddie — Goodie! It's Mr. Gaskell. 

Gaskell — May I come in? 

Frank — I — don't — 

Gaskell — I'm coming. I want to talk to you. 

Kiddie — Don't you want me to hear it? 

Gaskell — Well — to be very honest, I would like 
to talk to just Miss Ware — if you don't mind. 

Kiddie — I've got to pick up my paints I left all 
over the floor then I'll be back. (He goes out L. 
closing the door.) 

Gaskell — I've been thinking — since that — since 
this afternoon. I was a cad. At least that's what 
I seemed to you. I don't know what those other 
duffers were driving at — Oh, I do know in a way— 
but — All I mean is that I love you and ask for 
your — confidence. 



80 A MAN'S WORLD 

Frank — I'm not angry now, but I was then 
— so horribly angry and hurt. I could tell you 
who his mother was and prove it in a hundred 
ways but don't ask me to do that. Oh, Malcolm — 
You must believe me — just me. Look at me. I 
give you the one love of my life. 

Gaskell — {Catching her in his arms.) Frank! 

Frank — I love you. I love you. 

Gaskell — My darling! It was hell to doubt you, 
but I couldn't help it, dear. It was only because I 
love you so. Because I want you to be the most 
perfect woman in the world. Do you understand? 

Frank — And don't you see why I wanted you 
— of all people in the world to trust me — in every 
way? Don't you understand? 

Gaskell — No, not quite. (Sitting beside her.) 
When will you marry me? 

Frank — Oh, I don't know. 

Gaskell — I want to take care of you. You 
need it as much as any woman does. Do you love 
me? 

Frank — I've tried — not to. 

Gaskell — Don't say that. Why? 

Frank — I haven't wanted to love anybody — and 
when I knew I was beginning to care — I didn't 
want to. 

Gaskell — When did you know you — cared? 

Frank — Oh — When I began to fight with you. 



ACT III 81 

You made me so awfully angry — and then I was 
always wretched until we made up. I began to 
know your step in the hall, and when you opened 
the door and stood there I knew something strong 
and sweet, something stronger than myself was com- 
ing in. 

Gaskell — I'm a beast in lots of ways and stub- 
born as a mule — but I can take care of you and I'll 
be good to you. 

Frank — When did you first know you cared? 

Gaskell — From the first minute I saw you. 

Frank — Oh, every man says that. You know 
that isn't true. I wouldn't want it to be. I'll tell 
you when I first knew you cared. 

Gaskell — When ? 

Frank — Do you remember that day — it was — it 
was Sunday evening about three months ago. You 
were here and Fritz came in with some roses for 
me and you didn't look at me for the rest of the 
evening. You talked to Clara every minute. 

Gaskell — Oh, come, I wasn't quite such an ass 
as that. 

Frank — You were. You were just as silly as 
you could be, and perfectly adorable. When you'd 
gone I — 

Gaskell — You what — 

Frank — I won't tell you. 

Gaskell — Oh, please tell me. 



82 A MAN'S WORLD 

Frank — No. 

Gaskell — Oh, please. What did you do when 
I'd gone? 

Frank — I won't tell. 

Gaskell — I don't believe you love me at all. 
Do you? 

Frank — Um — you haven't the faintest idea how 
much. 

Gaskell — Well — tell me — tell me how much. 

Frank — I never can. You don't know what it 
means for a woman to love only one man in all her 
life. 

Gaskell — Oh, now Frank — 

Frank — It's true. You're the one man, Mal- 
colm. That's why I've tried to resist it because it 
means so terribly much to me. My life has been 
filled with other things you know — with Kiddie — 
and my work. They absorbed me and satisfied me; 
and when you — when love began to crowd in — to 
overpower me — I was afraid. It seemed almost like 
being a traitor to myself. Oh, it means such a — 
such an overwhelming thing for a woman to give 
up to love after — she's — she's been — 

Gaskell — After she's been as strong and inde- 
pendent as you have been. I'm the luckiest dog on 
earth. I don't see how I got you. 

Frank — Just because you are you. Oh, don't 
ever disappoint me. Be big and fine and honest al- 



ACT III 83 

ways — let me lean on you and worship you. 

Gaskell — Kiss me. (She puts her head back 
and he bends over her kissing her. Kiddie opens the 
door and comes in, standing amazed.) 

Kiddie — Is that what you were talking about — 
kissing her? 

Gaskell — No, a man never talks much about 
that. 

Kiddie — (Going to Frank and throwing his arms 
about her and kissing her fiercely.) She says I am 
the only man that can kiss her. 

Gaskell — Well, let me see if I can do it like 
that. 

Frank — No — no ! 

Kiddie — What made you let him do it, Frankie? 

Gaskell — I'll tell you. 

Frank — No — no! Please. I'll tell you after 
awhile, Kiddie — when I put you to bed. 

Gaskell — Will you kiss me too? 

Kiddie — I'll kick you. (Gaskell laughs.) 

Frank — Oh, Kiddie, you don't mean that. 

Kiddie — Yes, I do. You said I always had to 
take care of you. 

Frank — Yes — but — (There is a loud knocking 
at door C.) Oh, heavens! Go over there. (Mo- 
tioning Gaskell away.) 

Kiddie — I'll tell on you. 

Frank — Kiddie, you won't do that, will you? 



84 A MAN'S WORLD 

You never tell tales, you know. Will you? (He 
hesitates a second, then shakes his head.) 

Gaskell — (In a very loud voice, going to door.) 
If you'll come down to my room with me, Kiddie, 
I'll give you — (He opens the door — Clara is there 
waiting, with the pillows, coat, etc., which were 
borrowed.) Oh, I beg your pardon, did you 
knock ? 

Clara — Yes, I did. 

Gaskell — I'm afraid I was talking so loud no- 
body heard you. I say, Kiddie, if you'll come down 
I'll give you — well, you can tell me what you want 
most when we get there. (After slight hesitation 
Kiddie goes to Gaskell.) 

Kiddie — I haven't forgiven him, but I'd like to 
see what he's got. (Kiddie goes out C. — followed 
by Gaskell.) 

Clara — Here's your coat. I am so much obliged. 
I wore it — but I must say I was rather ashamed to 
after what happened. 

Frank — I don't care now what happened. 

Clara— Why? 

Frank — Because something else has happened 
that makes that affair this afternoon seem very in- 
significant. 

Clara — Does it? I tho't you'd be so furious 
with everyone of us that you'd never speak to us 
again. I was really afraid to come up — but I did. 



ACT III 85 

Frank — I am glad you did. 

Clara — But I want to tell you I wasn't in it. 
I didn't— 

Frank — Let's not talk about it. Sit down. How 
was the exhibition? 

Clara — A fizzle. A perfect fizzle. 

Frank — Oh, no. I am so sorry. 

Clara — Cousin Mabel didn't come at all. Some 
people she'd asked were there, and of all the snippy 
snobs I ever saw! They only stayed a minute and 
were so out of breath and asked me how I could 
possibly climb two flights. Only two mind. 

Frank — Good thing they didn't have to come to 
see me. 

Clara — One woman asked me why I didn't have 
one of those lovely studios on 57th St. Oh, dear, 
what's the use. (Bursting into tears.) I'm so dis- 
couraged I don't know what to do. 

Frank — Oh, no, you're not. You're tired and 
nervous. 

Clara — Yes, I am too discouraged. I've tried 
just as hard as I can for ten years — and scrimped 
and scraped and taken snubs and pretended I was 
ambitious and didn't care for anything but my work, 
and look at me — don't even know how I am going 
to pay my next month's rent. I'm so sick and tired 
of it all I don't know what to do. I'd marry any 
man that asked me. 



86 A MAN'S WORLD 

Frank — Now, you're not going to lose your 
nerve like this. 

Clara — I would. I'd marry anything that could 
pay the bills. Oh, I am so tired — so tired of it all. 

Frank — Poor little girl. It is a hard fight, isn't 
it? 

Clara — It doesn't pay. I've been too terribly 
respectable and conventional all my life to succeed. 
If I were like you — you're so strong and independ- 
ent — you believe in women taking care of them- 
selves. 

Frank — I believe in women doing the thing 
they're most fitted for. You should have married, 
Clara, when you were a young girl — and been tak- 
en care of all your life. Why didn't you? Don't 
you believe in that? 

Clara — No man has ever asked me to marry 
him. I've never had a beau — a real beau — in my 
life. I — I've always been superfluous and plain. 
Absolutely superfluous. I'm not necessary to one 
single human being. I'm just one of those ever- 
lasting women that the world is full of. There's 
nobody to take care of me and I'm simply not cap- 
able of taking care of myself. I've tried — God 
knows I've tried — and what is the use? What un- 
der Heaven's do I get out of it? If I were a man — 
the most insignificant little runt of a man — I could 
persuade some woman to marry me — and could have 



ACT III 87 

a home and children and hustle for my living — and 
life would mean something. Oh, I can't bear it, 
Frank. I can't bear it! I often wish I were pretty 
and bad and could have my fling and die. (Sob- 
bing she falls on the couch — huddled and helpless.) 

Frank — Life has been dull and common place 
and colorless for you — but there are worse things 
than that. You've learned that life is easier for 
men than for women — you know what it is to strug- 
gle for existence — come and help me in some of the 
things I'm trying to do for girls. I'd like to have 
you teach drawing and modeling in this new club 
we're opening. 

Clara — Oh — would you? 

Frank — Would you be willing to live there? 
To be one of the women in charge — and help the 
girls in a personal way? 

Clara — Oh — do you think I could help any- 
body? 

Frank — Come over and try it, Clara, and see. 
You'll never wish again that you were pretty and 
bad, after you've seen a girl come off the streets 
and get to be a decent woman. 

Clara — I don't think I could actually do any- 
thing, but Oh, heavens, Frank, I would like to get 
hold of something. 

Frank — You — {A ra-ta- fat-tat at the door.) 
That's Fritz. 



88 A MAN'S WORLD 

Clara — (Wiping her eyes and blowing her 
nose.) Oh dear, I don't want to see anyone. I am 
going out thro' your bedroom. I — I am so, awfully 
grateful, Frank, but — I — can't — (She chokes with 
tears and hurries out. Another rap — Frank opens 
the door.) 

Fritz — I would like to see you. 

Frank — Come in. (She goes to sit in arm 
chair below the fire and Fritz closing the door goes 
to couch.) 

Fritz — You tink I haf broken my promise? You 
tink I haf been — dot I haf talked about you to 
Lione. Dot iss true — but not in de way that you 
tink. I was very foolish and I argue wid her and I 
say a very foolish ting — but it was not a bad ting 
— I mean it was not about you at all. It was about 
you — but it wasn't. I don't tink anything but what 
I always haf and dot iss dot you are de best and 
most honest woman in de world. Do you believe 
dot? 

Frank — I want to believe it — but, Oh, Fritz, 
how could you discuss me at all? I tho't you were 
so different from the others. I've told you every- 
thing. How could you talk about it? 

Fritz — I know. I know I was one big fool, but 
I lose my head — and I said a ting I wish back. 

Frank — And something else that disappointed 
me awfully this afternoon. Why on earth didn't 



ACT III 89 

you take the chance Mr. Gaskell gave you to play? 

Fritz — I couldn't. 

Frank — It can't be because of Malcolm Gaskell 
himself, can it? 

Fritz — You must not ask me. 

Frank — For goodness sake speak out. I'm sick 
of suspicion and curiosity. How dare they take 
Kiddie's picture down and try to squeeze some- 
thing out of it? How dare they? Of course they 
decided that he looks like me. Isn't it a joke? Let's 
not have any more made up scandals. If you have 
anything against Gaskell go and tell him so — like 
a man. 

Fritz — You would like to believe in him above 
any man in the world? 

Frank — I do. 

Fritz — Den I will ask him some ding — some 
body has got to do it for you — but — if anything bad 
should come of dis — 

Frank — Oh — I'm not afraid — and he wouldn't 
lie to you! 

Fritz — You are very sure of him. — Don't — don't 
let it — don't let it — mean too much to you if — if 
he is not de man you tink. It would mean every- 
thing to you, won't it? Frankie, don't — don't 
break your heart about a man. I — I couldn't bear 
it — if anybody hurt — you. {He raises her hand to 
his lips and she slowly puts her other hand on his 



90 A MAN'S WORLD 

head. ) 

Frank — You — you've been so good to me, Fritz. 

Fritz — Don't tink I don't want to find him 
worthy of you — I want you to be happy. You 
know dot, don't you? 

Frank — I do. 

Fritz — He iss a strong man — he iss a success. 
He can take care of a woman — he has not failed. 

Frank — Neither have you, Fritz. 

Fritz — I haf nodding to offer a woman. 

Frank — You have to offer her what money 
can't buy for her. 

Fritz — No — the devotion of a life time don't 
count unless a man can say; "I can protect you from 
hunger and cold and keep you safe for always." — 
But — but I would like to know dot some man will 
do dot and dot he is worthy of you. 

Frank — You dear old Fritz! Your friendship is 
the most beautiful thing in my life. Oh, Fritz, life 
is so hard! Love is such a sad, mad, awful thing. 
It is the greatest danger in the world — isn't it the 
love of men and women. If we could only get 
along without it. We — you and I must be friends 
— always, Fritz. (Her voice breaks. He tries to 
speak j but turns and goes quickly out.) 

Fritz — (Heard in the hall.) No, no, don't go 
in. 

Lione — I will. Yes, I will. I guess I can see 



ACT III gt 

her if you can. (Lione rushes in.) I don't know 
what Fritiz has been telling you and I don't care. 
You said you wanted me to speak plainly — so I 
suppose you'd like to hear what I mean and why I 
mean it. I've come up as soon as I could get here. 

Frank— Well? 

Lione — Oh, we can't be blind, you know, even 
to please you. 

Frank — You mean Kiddie looks like me — and 
you draw the self evident conclusion. 

Lione — Oh, no, not at all. We mean he looks 
like Malcolm Gaskell. 

Frank— What? 

Lione — Why you ever let him come here — why 
you ever undertook such a pose and expected to 
carry it out is more — (She stops as Frank goes 
slowly toward her.) 

Frank — What do you mean ? 

Lione — I mean he's your child and Malcolm 
Gaskell is his father. 

Frank — Lione, don't say that. Don't lie about 
a thing like that — it's too awful. Why do you? 
Kiddie isn't my child. I can prove it by people who 
knew his mother. 

Lione — (Impressed by the blaze of truth in 
Frank's eyes.) Then — who — who was his father? 

Frank — I don't know who his father was. 

Lione — For God's sake, do you mean that? 



92 A MAN'S WORLD 

Haven't you ever had a — Haven't you ever seen 
the resemblance to Gaskell? 

Frank — No ! No ! No ! No ! Of course not ! Not 
the slightest bit in the world. {Hurrying to desk 
and taking miniature out of drawer.) It isn't there 
at all. He doesn't look the least bit like him. See 
— look! (They bend over the picture.) What do 
you see? Where? What? I don't see it. Not a 
thing. Do you ? 

Lione — Well — I — you — I — I tho't I did. 

Frank — Did they all say they saw it? All of 
them? 

Lione — Yes — no, not all of them. You can im- 
agine anything in a picture. 

Frank — What did Fritz say? 

Lione— He believes you — and always has. From 
the first. 

Frank — But he saw the resemblance to Gas- 
kell — tho't he saw it? (Starting.) That's what 
he meant. That's what he's going to ask Gaskell. 
Oh, it can't be. It can't be! Look again. What 
did you think was like him? I don't see a thing. 
I'm telling the truth, as I live. I'd see it if it were 
— there. What is it you think is like him? Tell 
me. What? What? 

Lione — Thro the eyes. 

Frank — The eyes? No — I can't see it. I can't 
see it. It's imagination. You can imagine any- 



ACT III 93 

thing in a picture. You don't see it now do you? 
Oh, Lione, any man — any man in the world but 
Gaskell. (Sinking into chair at R. of desk.) 

Lione — I'm sorry I stirred this up. I ought to 
have kept my mouth shut. It was imagination. 
Let it alone I say. It's the wildest — most improba- 
ble thing in the world. 

Frank — But I've got to know. I've got to 
know. 

Lione — Let it alone. Good Lord, you can't stir 
up any man's life. You're lucky if it looks right 
on top. If you love him — take him — that's the 
point. Let it alone. 

Frank — Um — you don't understand. Who ever 
Kiddie's father is I've hated him all these years. 
Every time I look at Kiddie and think that some- 
where in the world is a man who branded him with 
the shame of — Every time I see a girl who's made 
a mess of her life because she's loved a man, I 
think of Kiddie's poor little mother, with the whole 
burden and disgrace of it — and the man scott free. 
I tell you it's horrible — the whole thing — the rela- 
tion between men and women. Women give too 
much. It's made me afraid to love any man. I've 
prided myself that I never would — because of Kid- 
die. Because I saw and went through that — I feel 
almost as deeply — as bitterly — as if I really were 
his mother. Don't you see? Don't you see? 



94 A MAN'S WORLD 

Lione — I suppose it does make a difference when 
a thing is brought home to you. I've never thought 
much about the whole business myself. Men are 
pigs of course. They take all they can get and don't 
give any more than they have to. It's a man's 
world — that's the size of it. What's the use of 
knocking your head against things you can't change ? 
I never believed before that you really meant all 
this helping women business. What's the use? 
You can't change anything to save your neck. Men 
are men. 

Frank — If women decided that men should be 
equally disgraced for the same sin, they would be. 

Lione — Oh, yes — if — if. That's easy enough to 
preach. When it comes to morality a woman nev- 
er holds anything against a man. What good would 
it do if she did? She'd be alone. Why, see here — 
what if — just suppose — that Malcolm Gaskell were 
Kiddie's father. You love him, and love is no joke 
with you. You've let yourself go at last. You've 
found the one man. What are you going to do 
about it? Throw him over — because you happen to 
find a little incident in his life that doesn't jibe 
with your theory? Where will you be? What be- 
comes of you? Um? Not much fun for you for the 
rest of your life. He's the man you want — take him 
and thank your lucky stars you have him. That's 
all I see in it. 



ACT III 95 

Frank — It's all you say. He's the one man — but 
if it — were true — 

Lione— Well? 

Frank — If it were true — (She shakes her head.) 

Lione — Oh, bosh! Then you can't marry any 
man — they're all alike. You know — we've worked 
ourselves up over nothing after all. I've been at 
the bottom of all that picture business. It was easy 
enough to sort of hypnotize the others into it. You 
can see anything in a picture — in Clara's pictures. 
I've always been looking for something to get hold 
of about you because I was jealous. I'm a fool 
about Fritz. (Frank quickly puts a hand over 
Lione 's.) I can't sing any more. I can't sleep. I 
can't eat. I'm a fool and I know it, but I can't help 
it. 

Frank — Go away from him for awhile, Lione, 
get away and he'll go after you. 

Lione — Oh, I don't know. I don't know. 

Frank — There it is! Love! What fools it 
makes us. Oh, I'm afraid of it! 

Lione — I don't believe this thing's true. Brace 
up. I don't believe it — not for a minute. 

Frank — I don't either — now. But it fright- 
ened me when you — 

Kiddie — (Opening door and pulling Gaskell in 
by the hand.) Come on. He didn't have anything 
I wanted — but this. (Showing a large pocket knife. 



96 A MAN'S WORLD 

Frank goes quickly into her room.) It's got four 
blades. Look at this one. 

Lione — That's a stunner — isn't it? 

Kiddie — I can cut anything with it. 

Lione — Mind you don't cut the legs off the 
piano. 

Kiddie — I could. I could cut off your legs too. 
(Kiddie goes to curl up in the L. end of couch — 
busy opening the blades of the knife. There is a 
pause. ) 

Lione — I think Frank wants you, Kiddie. 

Kiddie — Oh, no, she don't. 

Lione — (Looking at Gaskell.) I've just been 
telling Frank — 

Gaskell — What ? 

Lione — That I'm sorry for the row I kicked up 
this afternoon. I think everything is cleared up 
now. 

Gaskell — A row's a pretty good thing once in a 
while for clearing the atmosphere. 

Lione — Well, I tell you, you never know any- 
body through and through till you fight with them. 
Good night, Kiddie. (Lione and Gaskell nod to 
each other and she goes out closing the door.) 

Gaskell — (Going to R. end of couch.) Don't 
you think you had better go to bed now — and ask — 
Miss Ware, if I can't wait to see her ? 

Kiddie — What do you want to see her for? 



ACT III 97 

Gaskell — Well, several things. 

Kiddie — I don't know if I'll let you. 

Gaskell — Oh, please. 

(Frank opens her door and stands watching 
them.) 

Kiddie — I like you. 

Gaskell — I'm glad. 

Kiddie — I'm much obliged for the knife. (Giv- 
ing his hand.) 

Gaskell — (Taking Kiddie's hand.) Don't men- 
tion it. 

Kiddie — But that isn't why I like you. 

Gaskell — Why, then? 

Kiddie — Cause I do. (Frank moves a step 
toward them.) 

Gaskell — (Taking Kiddie's other hand.) That's 
the best reason in the world, isn't it? 

Frank — You must say good night, now, Kiddie. 

Kiddie — (To Gaskell.) Do you mind if I go? 

Gaskell — I'll have to stand it. (Frank moves 
above the fire-place still watching them intently.) 

Kiddie — (Standing upon arm of couch.) I'm as 
tall as you are. 

Gaskell — (Turning his back.) Come on. 

Kiddie — (Climbing on GaskelVs back.) Get up! 
Look, Frankie! (Kiddie laughs as Gaskell carries 
him across to the door L. and puts him down.) 

Gaskell — Good night old man. 



98 A MAN'S WORLD 

Kiddie — Good night — Frankie you come in ten 
minutes. {He goes in closing the door.) 

Gaskell — He get's hold of you when you're 
alone with him, doesn't he? When he says he likes 
you — it sort of makes a fellow throw out his chest. 
What's the matter? Why do you look at me like 
that? 

Frank — Nothing. Was I staring? 

Gaskell — Tired ? 

Frank — Perhaps I am a little. 

Gaskell — It's been rather an exciting day. 
Your hands are as cold as ice. Have you got nerves? 

Frank — No — no — I haven't. 

Gaskell — You know — the more I think about 
what you've done for Kiddie, — the more I like you 
for it. 

Frank — Do you? 

Gaskell — {Holding her by the arms.) Yes, I 
do. It begins to sink into me what the boy means 
to you — and that you actually believe all your ideas. 
I begin to see how through your love for the boy — 
and his mother's tragedy — you're sort of taken up 
a fight for all women. 

Frank — Yes, yes, — that's it. 

Gaskell — I never thought before that you act- 
ually believed that things ought to be — the same — 
for men and women. 

Frank — No, — I know you didn't. 



ACT III 99 

Gaskell — But I see that you believe it so deeply 
that you think it's a thing to go by — live by. 

Frank — Of course. 

Gaskell — You couldn't get far by it. 

Frank — Not far. No. You wouldn't have 
asked me to marry you — if Kiddie had been my own 
child. 

Gaskell — Oh, I don't — I — I love you. I want 
you. But when I knew he was not — the greatest 
change came that can come to a man. A radiance 
went over you. I wanted to kneel at your feet and 
worship you. That's the way all men feel towards 
good women and you can't change it. No woman 
with that in her life could be the same to any man 
— no matter how he loved her — or what he said or 
swore. It's different. It's different. A man wants 
the mother of his children to be the purest in the 
world. 

Frank — Yes, and a man expects the purest wo- 
man in the world to forgive him anything — every- 
thing. It's wrong. It's hideously wrong. 

Gaskell — It's life. Listen to me, — sweetheart. 
I want to help you do the sensible thing — about 
Kiddie. 

Frank — What do you mean ? 

Gaskell — Don't you see that you must let it be 
known positively who his mother was? 

Frank — That's just what I will not do, 



ioo A MAN'S WORLD 

Gaskell — Wait. You've hurt yourself by keep- 
ing still about him. What good can you do him by 
that? You can't take away the curse that will fol- 
low him. He'll have to fight that himself. Don't 
you see it would be much better to tell the whole 
business while he's little — too little to know any- 
thing about it — and then send him away — put him 
;n some good school? 

Frank — Give him up, you mean? 

Gaskell — No, not at all. I don't ask you to do 
that. Watch over him of course and be a sort of 
guardian — but — clear this thing about yourself. 
What's the matter? 

Frank — No, turn your head that way — side 
ways. 

Gaskell — What are you looking at? What do 
you see? Gray hairs? The whole point, dear girl, 
is — that you can't to save your life — make things 
right for the boy. 

Frank — You mean I can't take away the shame 
that his father put upon him? 

Gaskell — Ye-s. 

Frank — What would you think — of Kiddie's 
father — if you ever saw him ? 

Gaskell — Oh, — let's not go into that again. No- 
body knows the circumstances. You can't judge. 
Think about what I've said. We won't say any- 
thing more about it now. (He goes to her and 



ACT III 101 

turns her toward htm.) Do you love me? 

Frank — I shall never — never give Kiddie up. 

Gaskell — I wish you'd tell me what you are 
looking at. You look as though you saw — Frank! 
— what's the matter with you? 

Frank — Nothing. Stand over there. 

Gaskell — This is very funny. 

Frank — Oh, don't. {Quickly putting her hand 
over her eyes.) 

Gaskell — {Going to her.) Frank — are you ill? 
For heaven's sake tell me what — 

Frank — I've got a blinding headache — I can't 
see anything. 

Gaskell — Do you want me to go? {She nods 
her head slowly — staring at him.) I'm awfully 
sorry. Why didn't you tell me before and I 
wouldn't have — Frank — there's something the mat- 
ter. You've got to tell me. What do you think 
you 6ee? {Taking hold of her.) 

Frank — Please go. 

Gaskell — Are you angry? Look at me. Tell 
me what it is. 

Frank — Please — Just go— I want to think. Go 
now — please — pl-ease. I can't see. {Hurt and a 
little angry he moves backwards toward door.) Oh 
— it can't be — it isn't — it can't be! It can't be! It 
isn't! It isn't! 

Gaskell — What? 



102 A MAN'S WORLD 

Frank — Did you ever know a girl named — Alice 
Ellery? 

Gaskell — {After a pause.) Who told you 
that? 

Frank — Oh, you did. 

Gaskell — Who told you? Who told you? 

Frank — No one. 

Gaskell — Was it anybody here — in this house? 

Frank — How did you — know her? I mean — 
oh — tell me! 

Gaskell — Do you know the whole business? 

Frank — I don't know anything. 

Gaskell — You do — you do. 

Frank — No. I don't. I — I'm not prying into 
your life. It isn't that. But you must tell me 
something. I've got to know. I've got to know. 
(She drags herself to the couch, Gaskell goes to 
the fire and after a long pause speaks in a low hard 
tone.) 

Gaskell — It happened about six years ago. I 
never said anything about marrying her. She knew 
what she was doing. 

Frank — But, did you — did you desert her? 

Gaskell — I didn't! She went away. 

Frank — And you never heard from her? 

Gaskell — Never. 

Frank — Never knew what happened to her? 

Gaskell — No. She left a note saying she knew 



ACT III 103 

then she'd been a fool — and that she couldn't face 
the rest. I'm not proud of it, you know. I'd give a 
good deal to wipe it out — but — it happened. Are 
you going to hold it up against me? Is that one of 
your theories? Who told you? 

Frank — No one. I knew her. I was in Paris 
then. She came to me. 

Gaskell — And she told you who — ? 

Frank — Oh, not that it was you — no — no. 

Gaskell — How did you know then? 

Frank — Her child was born in my house. 

Gaskell — What? 

Frank — It was Kiddie! 

Gaskell — No ! 

Frank — They've seen the likeness — I've just 
seen it. I had to ask you. I had to know. 

Gaskell — Kiddie ! 

Frank — Kiddie — Kiddie. 

Gaskell — Don't take it like that. I love you 
better than my life. {Trying to take hold of her.) 

Frank — Oh, don't. 

Gaskell — Look here, Frank, we love each oth- 
er, and we've got to face it. 

Frank — Yes, we've got to face it. 

Gaskell — Nothing — nothing can separate us. 

Frank — We are separated. 

Gaskell — Only by your ideas. 

Frank — My ideas! They're horrible realities 



io 4 A MAN'S WORLD 

now because it's you. 

Gaskell — Frank — 

Frank — Every time I've looked at Kiddie I've 
cursed the man who ruined his mother and branded 
him with disgrace. 

Gaskell — Frank, stop! 

Frank — I've loathed and despised that man, I 
tell you — and it's you. Before it was someone else — 
any one — some one unknown, but now it's you — 
you — you. (She stops. They both turn with hor- 
ror, as Kiddie, in his night clothes, stands watching 
them, a little wondering figure.) 

The Curtain Falls 



ACT IV 

Time — {Immediately following Act III.) 

Place — (Same as Act III.) 

At curtain — (Frank and Gaskell are standing as 
at end of Act III.) 

Kiddie — Why don't you come, Frankie? 

Frank — (Moving slowly.) Come, Kiddie. 
(Kiddie hangs his head } then looks up at Gaskell 
slowly.) Kiddie. (Kiddie pushes past her and 
goes to Gaskell — Frank goes in to her room.) 

Kiddie — Don't you like me any more? 
(Gaskell doesn't answer.) Do you want me 
to give the knife back? (Moving closer to 
Gaskell.) It's the best knife I ever had. I found 
another blade — look. (Taking knife out of pocket 
and leaning against Gaskell to show it.) You open 
it. Don't you want to? (Kiddie looks steadily at 
Gaskell and then puts his hands on GaskelVs chest.) 
Are you mad at me? Don't you like me any more? 
(Kiddie throws his arms about GaskelVs neck. Gas- 
kell holds him tensely a moment.) 

Frank — (Calling from her room.) Come, Kid- 
die. 

Kiddie — I've got to go now, but I'll see you to- 
morrow. (He goes in. There is a knock at hall 
105 



io6 A MAN'S WORLD 

door. After a moment Gaskell opens it. Fritz 
stands in door way.) 

Fritz — I came to find you. I went to your 
room. Are you going back now? 

Gaskell — No, I'm going out. 

Fritz — I have something to say to you. 

Gaskell — Well, say it. 

Fritz — Not here. 

Gaskell — Go on. Miss Ware is putting Kid- 
die to bed. 

Fritz — I would rather you — 

Gaskell — Say what you've got to say now. I'm 
in a hurry. 

Fritz — I — der has been — you know — der has 
been some — some talk about — about Kiddie. 

Gaskell — Confounded impertinent set here. 

Fritz — Miss Ware is in a wrong position and 
some one has got to make it right for her. 

Gaskell — Look here. You're meddling with 
something that doesn't concern you. 

Fritz — No, I'm not meddling. Some one has 
got to do dis for her. 

Gaskell — You needn't trouble yourself. You 
can tell the rest of your curious friends that I 
know who this boy is. 

Fritz — You know? 

Gaskell — And I've asked Miss Ware to marry 
me. That clears the whole business. 



Act iv 107 

Fritz — No, it doesn't. 

Gaskell — What are you trying to do? I know 
all about him, I tell you, and if there's any more 
of this damnable talk they'll answer to me. 

Fritz — You know who the mother was ? 

Gaskell — I not only knew who she was — I 
knew her. That's enough. 

Fritz — You knew the f adder also? 

Gaskell — That has nothing to do with Miss 
Ware. 

Fritz — Yes, it has. Der has been a horrible 
thing said here in dis house. Dey say he is her 
child — and yours. 

Gaskell — It's a lie! 

Fritz — Part of it is a lie — but he is yours. 

Gaskell — Why damn you — what — 

Fritz — Listen to me. I haf seen dis strange and 
strong resemblance. I haf watch him — I haf 
watch you — till I haf come to tink you are his f adder. 
(A pause — Gaskell looks at Fritz then moves away.) 
For de love of God if it is true don't marry dis 
woman without telling her — it will kill her if she 
ever find it out. 

Gaskell — Now see here, Bahn, Miss Ware does 
know who Kiddie's father is. 

Fritz — No she does not know. 

Gaskell — Yes she does and she is going to mar- 
ry me. That clears the whole thing. 



108 A MAN'S WORLD 

Fritz — No, it does not clear her name, it will 
only make dem sure of what dey tink now — that he 
is her child and yours. 

Gaskell — It's a hellish, infernal lie — and I'll — 

LlONE — {Rapping loudly and opening the hall 
door quickly.) What are you doing? You're shout- 
ing so the whole house can hear you. (Wells ap- 
pears in door behind her,) 

Gaskell — Come in here. Shut the door. 
(Lione enters, Wells follows, closing the door.) So 
this is what you've been saying about her? You've 
been lying about a good woman. 

Lione — What have you told him, Fritz? 

Gaskell — The whole business and I'll tell you 
who the boy is. I knew — the — mother. Maybe 
you'll believe that when I tell you — the boy is mine. 
(There is a pause. They all watch Gaskell as he 
goes to stand before fire — his back to them.) I 
only found this out a little while ago, — from some- 
thing Miss Ware told me about — his mother who 
died in her house. I hope this knocks the truth into 
you. 

Lione — For my part I'm pretty much ashamed 
of what I've had to do in this. 

Gaskell — It's happened. That's the end of it. 

Wells — I consider what has just been said a 
sacred confidence. I take my oath it will be so 
with me. 



ACT IV 109 

(Lione and Fritz and Wells look at each other 
and slightly bow their heads in acknowledgment of 
a pledge.) 

Gaskell — Whether Miss Ware will marry me 
now, I don't know. That's all I have to say. 
(Wells opens the door for Lione and follows her 
out. Fritz hesitates, takes a short step toward Gas- 
kell, turns and goes out — closing the door. Gaskell 
remains looking into the fire as Frank comes back.) 
Frank, this thing isn't going to make any difference 
in our lives, is it? 

Frank — (Closing the door after her quietly.) 
Whatever I do, Malcolm, you'll know I do without 
bitterness — without any spirit of revenge. 

Gaskell — You mean if you throw me over ? 

Frank — I mean if the future doesn't seem possi- 
ble for us together. 

Gaskell — Why shouldn't it be possible? 

Frank — You know. 

Gaskell — No, I don't. This thing has been a 
shock to you — of course. It's shaken you terribly, 
but you haven't given me any real reason — any 
facts why there shouldn't be a future for us. I 
love you and I am going to have you. 

Frank — (Moving away from him.) Oh, don't 
please. I must — I must — 

Gaskell — (Following her.) There's little 
enough in the world worth having, heaven knows. 



iio A MAN'S WORLD 

Why should we miss each other? 

Frank — Kiddie — Kiddie. 

Gaskell — Well — well — we love each other. 
That's the first thing to reckon with. 

Frank — Oh, you don't know yet what I mean. 

Gaskell — Talk won't get us anywhere. We've 
got to look this thing square in the face, as it is. 
Either you throw me over, or you let me give you 
the rest of my life and make you happy. 

Frank — Oh, that isn't — 

Gaskell — I love you, Frank. I'd lay down my 
life for you. You're the whole world to me. 

Frank — Love isn't the only thing in the world. 

Gaskell — It's the biggest thing. We've found 
each other. Look at me. You know it's the one 
perfect thing on earth — a perfect love and we've 
found it. 

Frank — It never could be perfect while you be- 
lieve what you do. 

Gaskell — What's that got to do with the facts ? 

Frank — Do you believe it wasn't wrong — just 
because you are a man? 

Gaskell — Oh — 

Frank — Do you believe that? 

Gaskell — {After a pause.) Yes. 

Frank — Oh ! 

Gaskell — Good heavens, Frank, I tho't you 
were so much bigger than the average woman. All 



ACT IV in 

women kick against this and what good does it do? 
Why since the beginning of time one thing has been 
accepted for a man and another for a woman. Why 
on earth do you beat your head against a stone wall ? 
Why do you try to put your ideals up against the 
facts ? 

Frank — I'm not talking about my ideals now, 
nor the accepted thing. I'm talking about you, 
that girl, this child. You think I must excuse what 
you did — that it really wasn't wrong at all, just be- 
cause you are a man. 

Gaskell — It's too late to say these things 
to me now. You know — must have known when 
you first knew me that I'd — well that I'd lived a 
man's life. When you first loved me why didn't 
you think of all this? 

Frank — Ah, that's just it — I loved you. I took 
you as all women take men — without question. Oh, 
don't you see I'm not looking for something bad in 
men. If it hadn't been for him — if he hadn't been 
put into my arms a little helpless, nameless thing — 
if I hadn't seen that girl suffer the tortures of hell 
through her disgrace, I probably wouldn't have 
thought any more about this than most women do. 

Gaskell — Isn't our love more to you than that ? 

Frank — No ! 

Gaskell — Good God, Frank! You're a woman. 
You talk like a woman — you think like a woman. 



ii2 A MAN'S WORLD 

I'm a man. What do you expect? We don't live 
under the same laws. It was never meant to be. 
Nature, nature made men different. 

Frank — Don't make nature the excuse for ruin- 
ing the life of a good girl. Oh, Malcolm — (Put- 
ting her hand on his arm.) Do you think it wasn't 
wrong ? 

Gaskell — (Drawing her to him.) I only know 
I love you. You said you loved me. I won't give 
you up. 

Frank— Oh! 

Gaskell — You're angry now. When you've 
had time to think you'll see. Frank, I love you. 
I love you. 

Frank — (Getting away from him.) Oh, no, 
no. 

Gaskell — Frank, you're not as cold and hard as 
that. You're going to forgive me. 

Frank — Oh, I want to forgive you. If you 
could only see. If your soul could only see. Oh, 
dear God! Malcolm, tell me, tell me you know it 
was wrong — that you'd give your life to make it 
right. Say that you know this thing was a crime. 

Gaskell — No! Don't try to hold me to account 
by a standard that doesn't exist. Don't measure 
me by your theories. If you love me you'll stand 
on that and forget everything else, 

Frank— I can't. I can't, 



ACT IV 113 

Gaskell — I'm not a man to beg, Frank. Do 
you want me to go? Is that it? Is this the end? 

Frank — There's nothing else. 

Gaskell — Do you mean that? 

Frank — There's nothing else. It is the end. 
(He goes out closing the door.) 

The curtain falls 



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